For many of us, this has been one of the greatest weeks we have experienced in a long, long time. Speaking for myself, I have never been happier to live in the United States, and have never been happier attending a university as fantastic as Wesleyan. So let’s just take a moment and consider everything that makes this country and this school so f’ing awesome. I can think of a few: jazz, baseball, the Big Mac, Toby Keith, tons of fat people, fake celebrities (well, maybe not the last one), and of course…the wonderful Wesleyan Film Series! Well kids, it just so happens that this calendar is full of great American films—and three of those are this upcoming week! So take this new found pride in living in the greatest country ever and channel it straight into attending the Film Series like never before. What better time to get “happy” and lose yourself in the cinema? And what an eclectic week we have for you with the next four shows. So dust off that American flag you’ve wanted to burn for the last eight years, wave it high, and come see this awesome collection of films that were almost entirely made in the grand ole’ U.S.A. Yes, there is ONE French film this week, but we all know they make way better movies than we do—those bastards. But wait! Truffaut’s “Shoot the Piano Player” is actually a lively homage to the great American gangster film! Man, we are so awesome. Maybe one day the rest of the world will again love us so much that they make an homage to our film styles. Don’t miss this week!

PINEAPPLE EXPRESS

2008. USA. Dir: David Gordon Green. 111 min.

Friday, Nov. 7, 8 p.m., $5!

What is more American than smoking hella good weed and accidentally witnessing a murder? That’s right, nothing is. Director David Gordon Green is one of the most successful young directors in Hollywood, and has previously only directed “indie” flicks. So, this isn’t your “Half Baked”-style stoner comedy…this is, um, intelligent filmmaking. This summer blockbuster surprised some audiences with its genre-bending action sequences and is by far one of the funniest films of the year. If you haven’t seen this already, you must be a total loser. And if you have, I guarantee that you will laugh ten times harder when viewing it with a Wesleyan audience. Someone make some special brownies beforehand!

TOUCH OF EVIL

1958. USA. Dir: Orson Welles. 95 min.

Saturday, Nov. 8, 8 p.m., FREE!

This is one epic movie. The opening shot, clocking in at over three minutes, stood as the longest single take in film history until it was intentionally beaten decades later. In it, the camera moves (invisibly, mind you) from a dolly to hand held, to a crane, and back to a dolly. And it only gets better and better as the film unfolds. There just isn’t anyone that comes close to Orson Welles, and this is one of his finest films. One of the last great examples of true film noir, this tale of murder and deception features some of the most striking cinematography and compositions in any film. And Heston puts on one of the least convincing Mexican accents ever in film. But it doesn’t even matter! This film is simply a masterpiece. They just don’t make ’em like they used to.

WILD AT HEART

1990. USA. Dir: David Lynch. 124 min.

Wednesday, Nov. 12, 8 p.m., $5!

Wesleyan loves Lynch. You love Lynch. Even if you have never seen a Lynch film, you tell people you love Lynch. Hell, your mom probably loves Lynch. Last year, “Blue Velvet” was one of our more popular screenings, so we just couldn’t resist giving you more Lynch. One of the more absurd and extreme—but mainstream— modern directors, David Lynch makes films that fuck with your head—big time. This follow-up to “Blue Velvet” is no exception. In fact, it blows “Blue Velvet” right out of the water. Two lovers on the run. They love sex. Nic Cage circa 1990. Laura Dern circa 1990. What more could you ask for? Bring a date!

SHOOT THE PIANO PLAYER

1960. France. Dir: Francois Truffaut. 92 min.

Thursday, Nov. 13, 8 p.m., FREE!

As mentioned previously, this—the only non-American film of the week—actually takes major influences from the American cinema. The French New Wave masters (Truffaut was a leader) were obsessed with American gangster films. The anti-hero in Godard’s “Breathless” is a prime example of this. But this film goes far beyond that. When a down-on-his-luck piano player finds himself absorbed into the Parisian underworld, the result is a beautiful and poignant film that simultaneously entertains and addresses aspects of the global film medium itself. A playful and powerful film, this is Truffaut at his absolute finest. Not to be missed!