1728 posts categorized "Film"

September 08, 2017

Cinematographer Caroline Champetier: Shaping the Light

French Institute Alliance Française (FIAF) presents

CinéSalon

Cinematographer Caroline Champetier:

Shaping the Light

Tuesday, September 19–Tuesday, October 31

 FIAF  Florence Gould Hall; 55 East 59th Street, NYC

Colesmithey.com

New York, NYSeptember 8, 2017 — This fall, the French Institute Alliance Française (FIAF), New York’s premiere French cultural center, presents the new CinéSalon series Caroline Champetier: Shaping the Light. On Tuesday, October 24, Champetier comes to FIAF in person for a special Q&A after the 4pm screening of The Innocents and 7:30pm screening of Holy Motors.

Award-winning director of photography Caroline Champetier is a master of her craft. The orchestrator of lighting and camerawork on more than 100 films, her art is often felt as much as it is seen. Champetier has a rare ability to shape light to create palpable energy, evoke powerful emotions, and transform movie sets into fully-realized worlds. 

Champetier is the cinematographer behind some of France’s greatest filmmakers, past and present. A student of William Lubtchantsky, she has worked with generations of pioneering filmmakers, from Jean-Luc Godard and Jacques Rivette to Chantal Akerman, Arnaud Desplechin, and Léos Carax. 

This fall’s CinéSalon series features some of Champetier’s most striking films, including Holy MotorsOf Gods and Men, and films recently restored under her supervision.

Caroline Champetier: Shaping the Light coincides with the New York premiere, on electronic billboards surrounding Times Square, of Voir la mer, from France’s foremost conceptual artist, Sophie Calle. Featuring cinematography by Caroline Champetier, the series of intimate, evocative video portraits reveals the emotional response of Istanbul residents seeing the sea for the first time. Voir la mer is presented as part of FIAF’s celebrated Crossing the Line Festival.

Series curated by Caroline Champetier and Delphine Selles-Alvarez.

About CinéSalon

In the spirit of the French ciné-clubs and literary salons, CinéSalon pairs an engaging French film with a social post-screening wine & beer reception. Every 7:30pm screening will be introduced by a high-profile personality in the arts.

Films in French with English subtitles unless otherwise noted.

CinéSalon is free for all FIAF Members.

CinéSalon Caroline Champetier: Shaping the Light

Of Gods and Men (Des hommes et des dieux)

Tuesday, September 19 at 4 & 7:30pm

5:30–8pm: Wine & Cheese Tasting

Xavier Beauvois, 2009. 122 min. Color.

With Lambert Wilson, Michael Lonsdale, and Olivier Rabourdin

In French and Arabic with English subtitles.

The true story of seven French Trappist monks who were kidnapped from their monastery in Tibhirine and killed during the Algerian Civil War, Of Gods and Men surpasses the tragically topical by focusing on the monks’ faith and their spiritual commonality with their Muslim neighbors. A surprise box office smash upon its release, this powerful film is an enduring paean to faith in the face of fundamentalism.

Caroline Champetier won the 2011 César for Best Cinematography for her superb work here, notably in a bravura scene inspired by the “Last Supper” and set to Tchaikovsky’s Swan Lake.

"Beautiful, somber and rigorously intelligent."—The New York Times 

7:30pm screening will be introduced by Kirsten Johnson, award-winning director and cinematographer.

Part of FIAF’s Fall Open House. Complimentary Wine & Cheese Tasting from 5:30–8pm.

About Kirsten Johnson

Kirsten Johnson’s film Cameraperson was named one of the Top Ten Films of 2016 by The Washington Post and The New York Times. It premiered at Sundance, was short-listed for an Academy Award, won the National Board of Review Freedom of Expression prize, and won the Cinema Eye Outstanding Nonfiction Feature Award. Her short,The Above which premiered at the 2015 New York Film Festival, was nominated for the IDA Best Short of 2016. Kirsten’s camerawork appears in the Cannes premiere, Risk, Academy Award-winning Citizenfour, Academy Award-nominated The Invisible War, Tribeca Documentary winner, Pray The Devil Back To Hell, and Cannes winnerFahrenheit 9/11. She shared the Sundance 2010 Cinematography Award with Laura Poitras for their work on The Oath. She is currently a Sundance Art of Non-Fiction Fellow and was just awarded a Guggenheim Fellowship. She studied at the French National Film School, La Fémis, where she was the first American to graduate from the Cinematography Department.

Gang of Four (La Bande des Quatre)

Tuesday, September 26 at 4 & 7:30pm

Jacques Rivette, 1989. 160 min. Color.
With Bulle Ogier, Benoît Régent, Laurence Côte, Fejria Deliba 

In French with English subtitles.

Four students at a prestigious all-female acting school happily live together in the suburbs of Paris until a mysterious stranger warns them that their classmate Cécile is in danger. The young women soon discover that their world of theater is closely connected to the shadowy recesses of contemporary reality. While the entrancing Gang of Four is full of trademarks of the most playful of New Wave directors—the back and forth between theater and reality, the plot as an enigmatic game of snakes and ladders, the focus on female protagonists—it stands out as one of Rivette’s most enjoyable films. 

"Gang of Four offers an accessible and entertaining vision of how the New Wave has survived and evolved long after it was declared dead."—The New York Times

Special guest speaker to be announced.

Enjoy complimentary wine & beer after both screenings.

Related Event:

Sophie Calle: Voir la mer (New York Premiere)

Presented as part of FIAF’s Crossing the Line Festival in partnership with Times Square Advertising Coalition (TSAC) and Times Square Arts

Sunday, October 1 through Tuesday, October 31, nightly from 11:57pm–midnight

On Times Square electronic billboards from 42nd–49th Streets between 7th Avenue and Broadway

Free and open to the public

Since the late 1970’s, Sophie Calle—“France’s foremost conceptual artist” (The New York Times)—has been making provocative and often controversial work that confronts issues in her personal life. She is well-known for her sleuth-like explorations of human relationships, which have led her to follow strangers, and find work as a hotel chambermaid.

Calle’s work has been shown at international venues including the Musée d'Art Moderne de la Ville de Paris, MoMA (New York), the Guggenheim Museum (New York), The Tate Gallery (London), Crossing the Line Festival 2011, and recently a site-specific installation in Greenwood Cemetery (Brooklyn) for Creative Time.

In Istanbul, a city surrounded by the sea, Sophie Calle met people who had never seen it. For Voir la mer, as Calle describes it, “I took them to the shore of the Black Sea. They came to the water’s edge, separately, eyes lowered, closed, or masked. I was behind them. I asked them to look out to the sea and then to turn back towards me to show me these eyes that had just seen it for the first time.” Magnified on Times Square’s electronic billboards, five of these intimate video portraits silently reveal their emotional response to this evocative experience.
Image: Caroline Champetier

For details visit www.crossingthelinefestival.org

La Sentinelle

Tuesday, October 3 at 4 & 7:30pm

Arnaud Desplechin, 1992. 139 min. Color.
With Emmanuel Salinger, Thibault de Montalembert, Jean-Louis Richard

In French with English Subtitles

La Sentinelle is the haunting tale of a medical student who arrives in Paris to discover a human head in his luggage. Determined to identify his “charge,” the young man wades deep into the murky waters of Cold War diplomacy. A profound meditation on recent European history and a wry depiction of Paris’s elite circles, this brilliant debut feature introduced audiences to Arnaud Desplechin, one of France’s most significant contemporary writer-directors. In choosing to work with the fledgling director, Caroline Champetier launched her important collaboration with a younger generation of filmmakers that would shape the French cinema of our era. 

"An absorbing, psychologically resonant portrait of French student life."—The New York Times

Special guest speaker to be announced.

Enjoy complimentary wine & beer after both screenings. 

Presented as part of FIAF’s First Tuesdays. See fiaf.org for info.

Toute une nuit

Tuesday, October 17 at 4 & 7:30pm

Chantal Akerman, 1981. 90 min. Color. 
With Aurore Clément, Natalia Akerman, Paul Allio

In French with English subtitles.

From sunset to dawn over the course of a single summer night in Brussels, a variety of couples come together—or apart. Set to Italian pop hits of the eighties, this nearly wordless gem plays both like a perfectly choreographed extended dance piece and a deliriously woozy wander into the nocturnal heat, with entire relationships playing out in brief street-corner scenes. In her first feature as solo director of photography and her only collaboration with the late, great Chantal Akerman, Champetier beautifully captures the sights and textures of a sultry summer night in the city. 

“One of the most ravishing films I have ever seen"—Huffington Post

Special guest speaker to be announced.

Enjoy complimentary wine & beer after both screenings.

The Innocents (Les innocentes)

Tuesday, October 24 at 4pm

Anne Fontaine, 2016. 115 min. Color. 
With Lou de Laâge, Agata Buzek, Agata Kulesza, Vincent Macaigne

In French, Polish, and Russian with English subtitles

Mathilde, a Red Cross doctor stationed in Poland shortly after World War II, is urgently called to a Benedictine convent, where she learns that several nuns are on the verge of giving birth after having been raped by Soviet soldiers. Deciding to go against Red Cross protocol and the wishes of a fanatical Mother Superior, she fights to save the young women and their babies. Based on true events, this gripping period piece convincingly recreates a particularly dark pass in modern history, while evoking the plight of every innocent caught in the crossfire between rampaging armies and dogmatic beliefs. 

“Uniquely powerful and beautiful."—Le Monde
Screening followed by a Q&A with Caroline Champetier

Enjoy complimentary wine & beer after the Q&A.

Holy Motors

Tuesday, October 24 at 7:30pm

35mm

Leos Carax, 2012. 115 min. Color. 
With Denis Lavant, Edith Scob, Eva Mendes, Kylie Minogue

In French, English, and Chinese with English subtitles

Climb into a white stretch limo with mysterious master of disguise Monsieur Oscar (played by the virtuoso Denis Lavant) and embark on an astounding trip through contemporary Paris. As Oscar changes identities, the film shifts gears from fantasy to musical comedy, from Henry James to CGI, and from family drama to hardboiled action. The sum total is a caustic, visionary representation of a world transformed by technology, haunted by materialism, but still lifted by director Leos Carax’s trademark dark romanticism. A disorienting, exhilarating masterpiece by one of the major artists of our era, Holy Motors is a must-see. 

“Carax’s ultimate definition of the cinema, and it’s one of the best and grandest that a movie has ever offered."
—The New Yorker

“Best French film of the 21st century!”—Indiewire

Screening followed by a Q&A with Caroline Champetier

Enjoy complimentary wine & beer after the Q&A.

Hannah Arendt

Tuesday, October 31 at 4pm

Margarethe von Trotta, 2012. 113 min. Color. 
With Barbara Sukowa, Janet McTeer, Julia Jentsch.

In English & German with English subtitles

Starting with the kidnapping of Adolf Eichmann by the Mossad in Argentina, Hannah Arendt describes the writing of Arendt’s classic account of the Eichmann trial in Jerusalem and the controversy that followed its publication in The New Yorker, recreating a long-lost New York émigré intellectual milieu along the way. If film as intellectual history sounds arduous, a single scene of Hannah Arendt and Mary McCarthy arguing out ideas while playing pool will convince you otherwise: Margarethe von Trotta’s gripping dramatization succeeds not only in bringing complex ideas to life without dumbing them down, but in teasing out their emotional stakes.

“Stimulating and inspiring.”—The Huffington Post 

Enjoy complimentary wine & beer after the screening.

Grandeur et Décadence d’un petit commerce de cinéma

Tuesday, October 31 at 7:30pm

Jean-Luc Godard, 1986. 92 min. Color.
Jean-Pierre Léaud, Marie Valera, Jean-Pierre Mocky, Caroline Champetier.

In French with English subtitles.
Previously unreleased in theaters, this newly restored gem finds Godard straying from his commission to make a film noir for television in order to tell the story of a down-on-his-luck producer and a director preparing his new film. Godard is as irreverent and thought-provoking as ever in his assessment of cinema marginalized by the unprecedented expansion of television in the 1980s. Yet Grandeur et décadence is more than an SOS sent out from the shores of cinema: it is also a love letter to the dream factory and an essential chapter in Godard’s storied career. 

"Deeply moving and funny, indisputably accurate, today more than ever.”—Slate

Special guest speaker to be announced.

Enjoy complimentary wine & beer after the screening.

About FIAF

The French Institute Alliance Française (FIAF) is New York’s premiere French cultural and language center. FIAF's mission is to create and offer New Yorkers innovative and unique programs in education and the arts that explore the evolving diversity and richness of French cultures. FIAF seeks to generate new ideas and promote cross cultural dialogue through partnerships and new platforms of expression. www.fiaf.org

Merci!

Special thanks to the Institut français and the Cultural Services of the French Embassy.

Special thanks to Julien Rejl (Capricci Films), Arianna Turci (Cinémathèque Royale de Belgique), John Kochman (Cohen Media Group), Courtney Vlaming (Music Box Films), Michael DiCerto (Sony Pictures Classics), Matt Pierson (Swank Motion Pictures), Nadège Le Breton (Why Not Productions), Nancy Gerstman (Zeitgeist Films).

CinéSalon is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. CinéSalon is sponsored by Air France and Delta Air Lines, BNP Paribas, and Renault Nissan. Wine courtesy of Vinadeis, the exclusive wine sponsor of CinéSalon. Beer courtesy of Kronenbourg 1664, the exclusive beer sponsor of CinéSalon.

Program Sponsors: Air France and Delta Air Lines, Cultural Services of the French Embassy, Edmond de Rothschild Foundations, Engie, Enoch Foundation, French American Cultural Exchange (FACE), Florence Gould Foundation, Hermès Foundation within the framework of the New Settings Program, Howard Gilman Foundation, Institut français, JCDecaux, National Endowment for the Arts, New England Foundation for the Arts, NYC Department of Cultural Affairs, New York State Council on the Arts, Office de Tourisme de Boulogne-Billancourt, Performing Arts Fund NL, and Pommery.

 

LISTING SUMMARY

What:

CinéSalon

Caroline Champetier: Shaping the Light

When:

Times and titles detailed above.

Where:

FIAF – Florence Gould Hall, 55 East 59th Street

(between Park & Madison Avenue)

Admission:

$14; $7 students; Free for FIAF Members; Advanced tickets $3*

*Free FIAF Member tickets distributed day-of. Show your Membership card at the

Box Office. Member tickets may be purchased in advance for $3.

As part of FIAF’s September 19 Open House, screenings of Of Gods and Menare free for both FIAF Members and Non-Members. Tickets will be distributed day-of at the box office on a first-come first-serve basis or may be purchased in advance for $3 (FIAF Members) or $5 (Non-Members).

Tickets:

800 982 2787 | fiaf.org

Information:

212 355 6160 | fiaf.org  

Transportation:

4, 5, 6, N, R and Q to 59th Street & Lexington Avenue

 

F to 63rd Street & Lexington Avenue; E to 53rd Street & 5th Avenue

Twitter: @FIAFNY

Instagram: @FIAFNY

Facebook: Like facebook.com/fiafny

Help keep Cole Smithey writing reviews, creating video essays, and making podcasts. Click on the button to pledge your support through Patreon.

PATREON BUTTON

August 23, 2017

NYFF 55: SPOTLIGHT ON DOCUMENTARY

Colesmithey.com

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES THE COMPLETE LINEUP FOR THE SPOTLIGHT ON DOCUMENTARY SECTION OF THE 55th NEW YORK FILM FESTIVAL 

Includes new works by Abel Ferrara, Alex Gibney, Sara Driver, Nancy Buirski, Mathieu Amalric, and Barbet Schroeder; Vanessa Redgrave’s directorial debut; films featuring Joan Didion, Arthur Miller, Gay Talese, Jean-Michel Basquiat, and Jane Goodall; plus incisive stories about racism, American immigration, the global refugee crisis, and more.


Jane

New York, NY (August 23, 2017) – The Film Society of Lincoln Center announces the complete lineup for the Spotlight on Documentary section of the 55th New York Film Festival (September 28–October 15). This year’s series of dispatches from the front lines of nonfiction cinema features intimate portraits of artists, depictions of social upheaval, and much more.

Selections include three documentaries spotlighting acclaimed writers, including the World Premiere of Griffin Dunne’s Joan Didion: The Center Will Not Hold; returning NYFF filmmaker Rebecca Miller’s tender portrait of her father, Arthur Miller: Writer; and the World Premiere of Myles Kane and Josh Koury’s Voyeur, capturing the investigations explored in Gay Talese’s book The Voyeur’s Motel. Other notable documentary subjects include Jean-Michel Basquiat, who commands the downtown NYC scene of the late ’70s and early ’80s in Sara Driver’s BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat; and Jane Goodall, whose original expedition to contact a chimpanzee population is brought back to life via 50-year-old National Geographic footage in Brett Morgen’s Jane.

Additional selections by NYFF alums are Travis Wilkerson’s Did You Wonder Who Fired the Gun?, in which Wilkerson confronts his family’s white supremacist roots; the North American Premiere of The Rape of Recy Taylor, Nancy Buirski’s passionate film about the 1944 case of a black woman who was raped by several white men; Joshua Bonnetta & J.P. Sniadecki’s El mar la mar, a 16mm meditation on the dangerous trek from Mexico to the U.S. through the Sonoran Desert; the North American premiere of Abel Ferrara’s Piazza Vittorio, a charming snapshot of Rome’s largest public square; and three music films by Mathieu Amalric: C’est presque au bout du mondeZorn, and Music Is Music.

Other highlights of this year’s Spotlight on Documentary section include Vanessa Redgrave’s directorial debut, Sea Sorrow, an expertly crafted call for Western aid to the global refugee crisis; Barbet Schroeder’s The Venerable W., which confronts an Islamophobic Burmese Buddhist monk; and Alex Gibney’s No Stone Unturned, a critical investigation into the 1994 Loughinisland massacre in Ireland.

The 18-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

As previously announced, the NYFF55 Opening Night is Richard Linklater’s Last Flag Flying, Todd Haynes’s Wonderstruck is Centerpiece, Woody Allen’s Wonder Wheel is Closing Night, and the Retrospective honors Robert Mitchum’s centenary. The complete lineup for the Main Slate can be found here, for Projections here, and for Revivals here.

NYFF Special Events and Convergence sections, as well as filmmaker conversations and panels, will be announced in the coming weeks.

Tickets for the 55th New York Film Festival will go on sale September 10 at noon. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount and brand new member benefits and offers available throughout NYFF. Learn more at filmlinc.org/membership.

For even more access, VIP passes and packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and packages are on sale now. Learn more at filmlinc.org/packages.

FILMS & DESCRIPTIONS

Arthur Miller: Writer
Dir. Rebecca Miller, USA, 2017, 98m
Rebecca Miller’s film is a portrait of her father, his times and insights, built around impromptu interviews shot over many years in the family home. This celebration of the great American playwright is quite different from what the public has ever seen. It is a close consideration of a singular life shadowed by the tragedies of the Red Scare and the death of Marilyn Monroe; a bracing look at success and failure in the public eye; an honest accounting of human frailty; a tribute to one artist by another. Arthur Miller: Writer invites you to see how one of America's sharpest social commentators formed his ideologies, how his life reflected his work, and, even in some small part, shaped the culture of our country in the twentieth century. An HBO Documentary Films release.

BOOM_FOR_REAL_05

BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat
Dir. Sara Driver, USA, 2017, 79m
U.S. Premiere
Sara Driver’s documentary is both a celebration of and elegy for the downtown New York art/music/film/performance world of the late 1970s and early ’80s, through which Jean-Michel Basquiat shot like a rocket. Weaving Basquiat’s life and artistic progress in and out of her rich, living tapestry of this endlessly cross-fertilizing scene, Driver has created an urgent recollection of freedom and the aesthetic of poverty. Graffiti meets gestural painting, hip hop infects rock and roll and visa versa, heroin comes and never quite goes, night swallows day, and everybody looms as large as they feel like looming on the crumbling streets of the Lower East Side.

Cielo
Dir. Alison McAlpine, Canada/Chile, 2017, 74m
World Premiere
The first feature from Alison McAlpine, director of the beautiful 2008 “nonfiction ghost story” short Second Sight, is a dialogue with the heavens—in this case, the heavens above the Andes and the Atacama Desert in northern Chile, where the sky “is more urgent than the land.” McAlpine keeps the vast galaxies above and beyond in a delicate balance with the earthbound world of people, gently alighting on the desert- and mountain-dwelling astronomers, fishermen, miners, and cowboys who live their lives with reverence and awe for the skies. Cielo itself is an act of reverence and awe, and its sense of wonder ranges from the intimate and human to the vast and inhuman.

Did You Wonder Who Fired the Gun?
Dir. Travis Wilkerson, USA, 2017, 90m
How is it that some people escape the racism and misogyny in which they are raised, and some cling to it as their reason to exist? For 20 years, Travis Wilkerson has been making films that interrogate the malevolent effects of capitalism on the American Dream. Here he turns his sights on his own family and the small town of Dothan, Alabama, where his white supremacist great-great grandfather S.E. Branch once shot and killed Bill Spann, an African-American man. Branch was arrested but never charged with the crime. The life of his victim has been all but obliterated from memory and public record. “This isn’t a white savior story. This is a white nightmare story,” says the filmmaker, who refuses to let himself or anyone else off the hook.  

El mar la mar
Dir. Joshua Bonnetta & J.P. Sniadecki, USA, 2017, 94m
The first collaboration between film and sound artist Bonnetta and filmmaker/anthropologist Sniadecki (The Iron Ministry, NYFF52) is a lyrical and highly topical film in which the Sonoran Desert, among the deadliest routes taken by those crossing from Mexico to the United States, is depicted a place of dramatic beauty and merciless danger. Haunting 16mm images of the unforgiving landscape and the human traces within it are supplemented with an intricate soundtrack of interwoven sounds and oral testimonies. Urgent yet never didactic, El mar la mar allows this symbolically fraught terrain to take shape in vivid sensory detail, and in so doing, suggests new possibilities for the political documentary. A Cinema Guild release.

Filmworker

Filmworker
Dir. Tony Zierra, USA, 2017, 94m
Leon Vitali was a name in English television and movies when Stanley Kubrick cast him as Lord Bullingdon in Barry Lyndon, but after his acclaimed performance the young actor surrendered his career in the spotlight to become Kubrick’s loyal right-hand man. For the next two decades, Vitali was Kubrick’s factotum, never not on call, for whom no task was too small. Along the way, Vitali’s personal life suffered, he drifted from his children, and his health deteriorated as he gave everything to his work. Filmworker is of obvious interest to anyone who cares about Kubrick, but it is also a fascinating portrait of awe-inspired devotion burning all the way down to the wick.

Hall of Mirrors
Dir. Ena Talakic and Ines Talakic, USA, 2017, 87m
World Premiere
In this lively documentary portrait, the great nonpartisan investigative reporter Edward Jay Epstein, still going strong at 81, takes us through his most notable articles and books, including close looks at the findings of the Warren Commission, the structure of the diamond industry, the strange career of Armand Hammer, and the inner workings of big-time journalism itself. These are interwoven with an in-progress investigation into the circumstances around Edward Snowden’s 2013 leak of classified documents, resulting in Epstein’s recently published, controversial book How America Lost Its Secrets: Edward Snowden, the Man and the Theft. One of the last of his generation of journalists, the energetic, articulate, and boyish Epstein is a truly fascinating character.

Jane
Dir. Brett Morgen, USA, 2017, 90m
U.S. Premiere
In 1960, Dr. Louis Leakey arranged for a young English woman with a deep love of animals to go to Gombe Stream National Park near Lake Tangyanika. The Dutch photographer and filmmaker Hugo van Lawick was sent to document Jane Goodall’s first establishment of contact with the chimpanzee population, resulting in the enormously popular Miss Goodall and the Wild Chimpanzees, the second film ever produced by National Geographic. One hundred hours of Lawick’s original footage was rediscovered in 2014. From that material, Brett Morgen (Kurt Cobain: Montage of Heck) has created a vibrant film experience, giving new life to the experiences of this remarkable woman and the wild in which she found a home. A National Geographic Documentary Films release.

Joan Didion: The Center Will Not Hold
Dir. Griffin Dunne, USA, 2017,  92m
World Premiere
Griffin Dunne’s years-in-the-making documentary portrait of his aunt Joan Didion moves with the spirit of her uncannily lucid writing: the film simultaneously expands and zeroes in, covering a vast stretch of turbulent cultural history with elegance and candor, and grounded in the illuminating presence and words of Didion herself. This is most certainly a film about loss—the loss of a solid American center, the personal losses of a husband and a child—but Didion describes everything she sees and experiences so attentively, so fully, and so bravely that she transforms the very worst of life into occasions for understanding. A Netflix release.

No Stone Unturned
Dir. Alex Gibney, Northern Ireland/USA, 2017, 111m
World Premiere
Investigative documentary filmmaker Alex Gibney—best known for 2008’s Oscar-winning Taxi to the Dark SideEnron: The Smartest Guys in the Room, and at least a dozen others—turns his sights on the 1994 Loughinisland massacre, a cold case that remains an open wound in the Irish peace process. The families of the victims—who were murdered while watching the World Cup in their local pub—were promised justice, but 20 years later they still didn’t know who killed their loved ones. Gibney uncovers a web of secrecy, lies, and corruption that so often results when the powerful insist they are acting for the greater good.

Piazza Vittorio
Dir. Abel Ferrara, Italy/USA 2017, 69m
North American Premiere
Abel Ferrara’s new documentary is a vivid mosaic/portrait of Rome’s biggest public square, Piazza Vittorio, built in the 19th century around the ruins of the 3rd century Trofei di Mario. The Piazza is now truly a crossroad of the modern world: it offers a perfect microcosm of the changes in the west brought by immigration and forced displacement. Ferrara, now a resident of Rome himself, talks with African musicians and restaurant workers, Chinese barkeeps and relocated eastern Europeans, homeless men and women, artists, members of the right wing movement CasaPound Italia, filmmaker Matteo Garrone, actor Willem Dafoe, and others, all with varying opinions about the vast changes they’re seeing in their neighborhood and world.

Recy_Taylor_Portrait

The Rape of Recy Taylor
Dir. Nancy Buirski, USA, 2017, 90m
North American Premiere
On the night of September 3, 1944, a young African-American mother from Abbeville, Alabama, named Recy Taylor was walking home from church with two friends when she was abducted by seven white men, driven away and dragged into the woods, raped by six of the men, and left to make her way home. Against formidable odds and endless threats to her life andthe lives of her family members, Taylor bravely spoke up and pressed charges. Nancy Buirski’s passionate documentary shines a light on a case that became a turning point in the early Civil Rights Movement, and on the many formidable women—including Rosa Parks—who brought the movement to life.

Sea Sorrow
Dir. Vanessa Redgrave, UK, 2017, 72m
Vanessa Redgrave’s debut as a documentary filmmaker is a plea for a compassionate western response to the refugee crisis and a condemnation of the vitriolic inhumanity of current right wing and conservative politicians. Redgrave juxtaposes our horrifying present of inadequate refugee quotas and humanitarian disasters (like last year’s clearing of the Calais migrant camp) with the refugee crises of WWII and its aftermath, recalled with archival footage, contemporary news reports and personal testimony—including an interview with the eloquent Labor politician Lord Dubs, who was one of the children rescued by the Kindertransport. Sea Sorrow reaches further back in time to Shakespeare, not only for its title but also to further remind us that we are once more repeating the history that we have yet to learn.

A Skin So Soft
Denis Côté, Canada/Switzerland/France, 2017, 94m
U.S. Premiere 
Studiously observing the world of male bodybuilding, Denis Côté’s A Skin So Soft (Ta peau si lisse) crafts a multifaceted portrait of six latter-day Adonises through the lens of their everyday lives: extreme diets, training regimens, family relationships, and friendships within the community. Capturing the physical brawn and emotional complexity of its subjects with wit and tenderness, this companion piece to Cote’s singular animal study Bestiaire (2012) is a self-reflexive rumination on the long tradition of filming the human body that also advances a fascinating perspective on contemporary masculinity.

Speak Up
Dir. Stéphane de Freitas, co-directed by Ladj Ly, France, 2017, 99m
North American Premiere
Each year at the University of Saint-Denis in the suburbs of Paris, the Eloquentia competition takes place to determine the best orator in the class. Speak Up (À voix haute - La Force de la Parole) follows the students, who come from a variety of family backgrounds and academic disciplines, as they prepare for the competition while coached by public-speaking professionals like lawyers and slam poets. Through the subtle and intriguing mechanics of rhetoric, these young people both reveal and discover themselves, and it is impossible not to be moved by the personal stories that surface in their verbal jousts, from the death of a Syrian nightingale to a father’s Chuck Norris–inspired approach to his battle with cancer. Without sentimentality, Speak Up proves how the art of speech is key to universal understanding, social ascension, and personal revelation.

The Venerable W.
Dir. Barbet Schroeder, France/Switzerland, 2017, 100m
The Islamophobic Burmese monk known as The Venerable Wirathu has led hundreds of thousands of his Buddhist followers in a hate-fueled, violent campaign of ethnic cleansing, in which the country’s tiny minority of Muslims were driven from their homes and businesses and penned in refugee camps on the Myanmar border. Barbet Schroder’s portrait of this man again proves, along with his General Idi Amin Dada (1974) and Terror’s Advocate (2007), that the director is a brilliant interviewer, allowing power-hungry fascists to damn themselves with their own testimony. His confrontation with Wirathu—a figure whose existence contradicts the popular belief that Buddhism is the most peaceful and tolerant major religion—is revelatory and horrifying. A release from Les Films du Losange.
Preceded by:
What Are You Up to, Barbet Schroeder? (2017, 13m), in which the director traces the path that led him to Myanmar, a center of Theravada Buddhism, where racial hatred was mutating into genocide.

Gay Talese

Voyeur
Myles Kane and Josh Koury, USA, 2017, 96m
World Premiere
Gerald Foos bought a motel in Colorado in the 1960s, furnished the room with louvered vents that allowed him to spy on his guests, and kept a journal of their sexual encounters…among other things. As writer Gay Talese, who had known Foos for more than three decades, came close to the publication of his book The Voyeur’s Motel (preceded by an excerpt in The New Yorker), factual discrepancies in Foos’s account emerged, and documentarians Kane and Koury were on hand to record some wild encounters between the veteran New York journalist and his enigmatic subject. A Netflix release.

Three Music Films by Mathieu Amalric
C’est presque au bout du monde (France, 2015, 16m)
Zorn (2010-2017) (France, 2017, 54m)
Music Is Music (France, 2017, 21m)
These three movies from Mathieu Amalric are musicals, from the inside out: they move with the mental and physical energies of John Zorn, the wildly prolific and protean composer/performer/bandleader/record label founder/club owner and all-around grand spirit of New York downtown music; and via the great Canadian-born soprano/conductor/champion of modern classical music Barbara Hannigan. Amalric’s Zorn film began as a European TV commission that was quickly abandoned in favor of something more intimate: an ongoing dialogue between two friends that will always be a work-in-progress. The two shorter pieces that bracket the Zorn feature Hannigan nurturing music into being with breath, sound, and spirit. Taken together, the three films make for one thrilling, intimate musical-gestural-cinematic ride.

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center.

Support for the New York Film Festival is generously provided by Official Partners HBO® and The New York Times, Benefactor Partners Verizon, FilmStruck, The Village Voice, Dolby, and illy caffé, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, VarietyThe Hollywood Reporter, Deadline Hollywood, JCDecaux, and The Mayor's Office of Media and Entertainment serve as Media Sponsors.

For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

August 16, 2017

DANIEL CRAIG TO RETURN FOR NEXT 007 FEATURE

Colesmithey.com

Daniel Craig confirmed on last night's episode of The Stephen Colbert Show that he will return for one last James Bond film. Hallelujah! Daniel Craig has been a pitch-perfect addition to the 007 franchise. Oh, how we love watching Craig's Bond get in and out of trouble. The as yet untitled Bond feature is slated for release on November 8, 2018.

Colesmtihey.com

August 10, 2017

100 YEARS OF OLYMPIC FILMS — CRITERION

presents
 
100 YEARS OF
OLYMPIC FILMS
 
Deluxe Blu-ray and DVD collector's sets include 53 films
and a 216-page illustrated book, to be released December 5, 2017
 
Features landmark work by Kon Ichikawa, Bud Greenspan, Milos Forman,
Leni Reifenstahl, Claude Lelouch, Masahiro Shinoda and many more!
 
 
We are pleased to announce Criterion's upcoming release of 100 YEARS OF OLYMPIC FILMS. Spanning fifty-three movies and forty-one editions of the Olympic Summer and Winter Games, this one-of-a-kind collection assembles, for the first time, a century's worth of Olympic films - the culmination of a monumental, award-winning archival project encompassing dozens of new restorations by the International Olympic Committee.
 
These documentaries cast a cinematic eye on some of the most iconic moments in the history of modern sports, spotlighting athletes who embody the Olympic motto of "Faster, Higher, Stronger": Jesse Owens shattering sprinting world records on the track in 1936 Berlin, Jean Claude-Killy dominating the slopes of Grenoble in 1968, Joan Benoit breaking away to win the first-ever women's marathon on the streets of Los Angeles in 1984.
 
In addition to the work of Bud Greenspan, the man behind an impressive ten Olympic features, this stirring collective chronicle of triumph and defeat includes such landmarks of the documentary form as Leni Riefenstahl's Olympia and Kon Ichikawa's Tokyo Olympiad, along with lesser- known but captivating contributions by major directors like Claude Lelouch, Carlos Saura, and Milos Forman. It also serves as a fascinating window onto the formal development of cinema itself, as well as the technological progress that has enabled the viewer, over the years, to get ever closer to the action. Traversing continents and decades, and reflecting as well the social, cultural, and political changes that have shaped our recent history, this remarkable marathon of films offers nothing less than a panorama of a hundred years of human endeavor.
 
BLU-RAY AND DVD SPECIAL EDITION COLLECTOR'S SETS FEATURE
* 53 newly restored films from 41 editions of the Olympic Games, presented together for the first time 
* Landmark 4K restorations of OlympiaTokyo Olympiad, and Visions of Eight, among other titles
* New scores for the silent films, composed by Maud Nelissen, Donald Sosin, and Frido ter Beek
* A lavishly illustrated, 216-page, hardcover book, featuring notes on the films by cinema historian Peter Cowie; a foreword by Thomas Bach, President of the International Olympic Committee; a short history of the restoration project by restoration producer Adrian Wood; and hundreds of photographs from a century of Olympic Games
 
HIGHLIGHTS FROM A CENTURY OF OLYMPIC FILMS
 
Stockholm 1912
The Games of the V Olympiad Stockholm, 1912 (dir. Adrian Wood)
 
Berlin 1936
Olympia Part One: Festival of the Nations (dir. Leni Riefenstahl)
Olympia Part Two: Festival of Beauty (dir. Leni Riefenstahl)
 
Cortina d'Ampezzo 1956
White Vertigo (dir. Giorgio Ferroni)
 
Tokyo 1964
Tokyo Olympiad (dir. Kon Ichikawa)

Grenoble 1968
13 Days in France (dirs. Claude Lelouch, François Reichenbach)
 
Sapporo 1972
Sapporo Winter Olympics (dir. Masahiro Shinoda)
 
Munich 1972
Visions of Eight (dirs. Milos Forman, Kon Ichikawa, Claude Lelouch, Yuri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, Mai Zetterling)
 
Barcelona 1992
Marathon (dir. Carlos Saura)
 
 
32-BLU-RAY EDITION
SRP $399.95 PREBOOK 11/7/17 STREET 12/5/17
CAT. NO. CC2811BD ISBN 978-1-68143-361-5 UPC 7-15515-20451-4
 
43-DVD EDITION
SRP $399.95
PREBOOK 11/7/17 STREET 12/5/17
CAT. NO. CC2812DDVD ISBN 978-1-68143-362-2 UPC 7-15515-20461-3 

August 08, 2017

NYFF 55: MAIN SLATE

NYFF 55

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES MAIN SLATE SELECTIONS FOR THE 55th NEW YORK FILM FESTIVAL  

 25 features include new films from Sean Baker, Noah Baumbach, Serge Bozon, Robin Campillo, Claire Denis, Arnaud Desplechin, Philippe Garrel, Greta Gerwig, Alain Gomis, Valeska Grisebach, Luca Guadagnino, Agnieszka Holland, Hong Sang-soo, Aki Kaurismäki, Kiyoshi Kurosawa, Lucrecia Martel, Ruben Östlund, Dee Rees, Joachim Trier, Agnès Varda & JR, and Chloé Zhao


L to R: Zama, On the Beach at Night Alone, Ismael’s Ghosts, Félicité, Lover for a Day, BPM (Beats Per Minute), 
The Meyerowitz Stories (New and Selected), The Square, Thelma

New York, NY (August 8, 2017) – The Film Society of Lincoln Center announces the 25 films for the Main Slate of the 55th New York Film Festival, September 28 – October 15.

NYFF Director and Selection Committee Chair Kent Jones said, “Every year, I’m asked about the themes in our Main Slate line-up, and every year I say the same thing: we choose the best films we see, and the common themes and preoccupations arise only after the fact. As I look at this slate of beautiful work, I could just make a series of simple observations: that these films come from all over the globe; that there is a nice balance of filmmakers known and unknown to many here in New York; that the overall balance between frankness and artistry holds me in awe; that there are two gala selections with the word ‘wonder’ in their titles; and that eight of the 25 films were directed by women.”

This year’s Main Slate showcases films honored at Cannes including Ruben Östlund’s Palme d’Or–winner The Square; Robin Campillo’s BPM, awarded the Cannes Critics’ Prize; and Agnès Varda & JR’s Faces Places, which took home the Golden Eye. From Berlin, Aki Kaurismäki’s Silver Bear–winner The Other Side of Hope and Agnieszka Holland’s Alfred Bauer Prize–winner Spoor mark the returns of two New York Film Festival veterans, while Luca Guadagnino’s acclaimed Call Me by Your Name will be his NYFF debut. Also returning are Arnaud Desplechin, Noah Baumbach, Kiyoshi Kurosawa, Claire Denis, Philippe Garrel, Lucrecia Martel, and Hong Sang-soo, who has two features in the lineup this year, while filmmakers new to the festival include Sean Baker, Greta Gerwig, Serge Bozon, Dee Rees, Chloé Zhao, Joachim Trier, Alain Gomis, and Valeska Grisebach.

As previously announced, the NYFF55 Opening Night is Richard Linklater’s Last Flag Flying, Todd Haynes’s Wonderstruck is Centerpiece, and Woody Allen’s Wonder Wheel will close the festival.

The 55th New York Film Festival Main Slate

Opening Night
Last Flag Flying
Dir. Richard Linklater

Centerpiece
Wonderstruck
Dir. Todd Haynes

Closing Night
Wonder Wheel
Dir. Woody Allen

Before We Vanish
Dir. Kiyoshi Kurosawa

BPM (Beats Per Minute)/120 battements par minute
Dir. Robin Campillo

Bright Sunshine In/Un beau soleil intérieur
Dir. Claire Denis

Call Me by Your Name
Dir. Luca Guadagnino

The Day After
Dir. Hong Sang-soo

Faces Places/Visages villages
Dir. Agnès Varda & JR

Félicité
Dir. Alain Gomis

The Florida Project
Dir. Sean Baker

Ismael’s Ghosts/Les fantômes d’Ismaël
Dir. Arnaud Desplechin

Lady Bird
Dir. Greta Gerwig

Lover for a Day/L’Amant d’un jour
Dir. Philippe Garrel

The Meyerowitz Stories (New and Selected)
Dir. Noah Baumbach

Mrs. Hyde/Madame Hyde
Dir. Serge Bozon

Mudbound
Dir. Dee Rees

On the Beach at Night Alone
Dir. Hong Sang-soo

The Other Side of Hope/Toivon tuolla puolen
Dir. Aki Kaurismäki

The Rider
Dir. Chloé Zhao

Spoor/Pokot
Dir. Agnieszka Holland, in cooperation with Kasia Adamik

The Square
Dir. Ruben Östlund

Thelma
Dir. Joachim Trier

Western
Dir. Valeska Grisebach

Zama
Dir. Lucrecia Martel


NYFF Special Events, Spotlight on Documentary, Revivals, Convergence, and Projections sections, as well as filmmaker conversations and panels, will be announced in the coming weeks.

The 18-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

Tickets for the 55th New York Film Festival will go on sale September 10. VIP passes and packages are on sale now and offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events. Learn more at filmlinc.org/packages

55th NEW YORK FILM FESTIVAL
Films & Descriptions

Colesmithey.com

Opening Night
Last Flag Flying
Dir. Richard Linklater, USA, 2017, 119m
World Premiere
In Richard Linklater’s lyrical road movie, as funny as it is heartbreaking, three aging Vietnam-era Navy vets—soft-spoken Doc (Steve Carell), unhinged and unfiltered Sal (Bryan Cranston), and quietly measured Mueller (Laurence Fishburne)—reunite to perform a sacred task: the proper burial of Doc’s only child, who has been killed in the early days of the Iraq invasion. As this trio of old friends makes its way up the Eastern seaboard, Linklater gives us a rich rendering of friendship, a grand mosaic of common life in the USA during the Bush era, and a striking meditation on the passage of time and the nature of truth. To put it simply, Last Flag Flying is a great movie from one of America’s finest filmmakers. An Amazon Studios release.

Centerpiece
Wonderstruck
Dir. Todd Haynes, USA, 2017, 117m
In 1977, following the death of his single mother, Ben (Oakes Fegley) loses his hearing in a freak accident and makes his way from Minnesota to New York, hoping to learn about the father he has never met. A half-century earlier, another deaf 12-year-old, Rose (Millicent Simmonds), flees her restrictive Hoboken home, captivated by the bustle and romance of the nearby big city. Each of these parallel adventures, unfolding largely without dialogue, is an exuberant love letter to a different bygone era of New York. The mystery of how they ultimately converge, which involves Julianne Moore in a lovely dual role, provides the film’s emotional core. Adapted from a young-adult novel by Hugo author Brian Selznick, Wonderstruck is an all-ages enchantment, entirely true to director Todd Haynes’s sensibility: an intelligent, deeply personal, and lovingly intricate tribute to the power of obsession. An Amazon Studios release.

Closing Night
Wonder Wheel
Dir. Woody Allen, USA, 2017
World Premiere
In a career spanning 50 years and almost as many features, Woody Allen has periodically refined, reinvented, and redefined the terms of his art, and that’s exactly what he does with his daring new film. We’re in Coney Island in the 1950s. A lifeguard (Justin Timberlake) tells us a story that just might be filtered through his vivid imagination: a middle-aged carousel operator (Jim Belushi) and his beleaguered wife (Kate Winslet), who eke out a living on the boardwalk, are visited by his estranged daughter (Juno Temple)—a situation from which layer upon layer of all-too-human complications develop. Allen and his cinematographer, the great Vittorio Storaro, working with a remarkable cast led by Winslet in a startlingly brave, powerhouse performance, have created a bracing and truly surprising movie experience. An Amazon Studios release.

Before We Vanish
Dir. Kiyoshi Kurosawa, Japan, 2017, 129m
The latest from master of art-horror Kiyoshi Kurosawa is perhaps his most mainstream film yet, a throwback to 1980s sci-fi. An advance crew of three aliens journey to Earth in preparation for a complete takeover of the planet. They snatch not only bodies but memories, beliefs, values—everything that defines their conquests as human—leaving only hollow shells, which are all but unrecognizable to their loved ones. This disturbing parable for our present moment, replete with stunning images—including a drone attack and a bit of Clockwork Orange–style murder and mayhem—is also a profoundly mystical affirmation of love as the only form of resistance and salvation. A Neon release.

BPM (Beats Per Minute)/120 battements par minute
Dir. Robin Campillo, France, 2017, 144m
U.S. Premiere
In the early 1990s, ACT UP—in France, as in the U.S.—was on the front lines of AIDS activism. Its members, mostly gay, HIV-positive men, stormed drug company and government offices in “Silence=Death” T-shirts, facing down complacent suits with the urgency of their struggle for life. Robin Campillo (Eastern Boys) depicts their comradeship and tenacity in waking up the world to the disease that was killing them and movingly dramatizes the persistence of passionate love affairs even in dire circumstances. All the actors, many of them unknown, are splendid in this film, which not only celebrates the courage of ACT UP but also tacitly provides a model of resistance to the forces of destruction running rampant today. A release of The Orchard.        

Bright Sunshine In/Un beau soleil intérieur
Dir. Claire Denis, France, 2017, 95m
North American Premiere
Juliette Binoche is both incandescent and emotionally raw in Claire Denis’s extraordinary new film as Isabelle, a middle-aged Parisian artist in search of definitive love. The film moves elliptically, as though set to some mysterious bio-rhythm, from one romantic/emotional attachment to another: from the boorish married lover (Xavier Beauvois); to the subtly histrionic actor (Nicolas Duvauchelle), also married; to the dreamboat hairdresser (Paul Blain); to the gentle man (Alex Descas) not quite ready for commitment to . . . a mysterious fortune-teller. Appropriately enough, Bright Sunshine In (very loosely inspired by Roland Barthes’s A Lover’s Discourse) feels like it’s been lit from within; it was lit from without by Denis’s longtime cinematographer Agnès Godard. It is also very funny. A Sundance Selects release.

Call Me by Your Name
Dir. Luca Guadagnino, Italy/France, 2017, 132m
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name is Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release.

The Day After
Dir. Hong Sang-soo, South Korea, 2017, 92m
U.S. Premiere
Hong continues in the openly emotional register of his On the Beach at Night Alone, also showing in this year’s Main Slate. Shot in moody black and white, The Day After opens with book publisher Bongwan (Kwon Hae-hyo) fending off his wife’s heated accusations of infidelity. At the office, it’s the first day for his new assistant, Areum (Kim Min-hee), whose predecessor was Bongwan’s lover. Mistaken identity, repetition compulsion, and déjà vu figure into the narrative as the film entangles its characters across multiple timelines through an intricate geometry of desire, suspicion, and betrayal. The end result is one of Hong’s most plaintive and philosophical works.

Colesmithey.com

Faces Places/Visages villages
Dir. Agnès Varda & JR, France, 2016, 89m
The 88-year-old Agnès Varda teamed up with the 33-year-old visual artist JR for this tour of rural France that follows in the footsteps of Varda’s groundbreaking documentary The Gleaners and I (NYFF 2000) in its celebration of artisanal production, workers’ solidarity, and the photographic arts in the face of mortality. Varda and JR wielded cameras themselves, but they were also documented in their travels by multiple image and sound recordists. Out of this often spontaneous jumble, Varda and her editor Maxime Pozzi-Garcia created an unassuming masterpiece (the winner of this year’s L’Oeil d’or at Cannes) that is vivid, lyrical, and inspiringly humanistic. A Cohen Media Group release.

Félicité
Dir. Alain Gomis, France/Senegal/Belgium/Germany/Lebanon, 2017, 124m
U.S. Premiere
The new film from Alain Gomis, a French director of Guinea-Bissauan and Senegalese descent, is largely set in the roughest areas of the rough city of Kinshasa in the Democratic Republic of the Congo. Here, a woman named Félicité (Véro Tshanda Beya Mputu) scrapes together a living as a singer in a makeshift bar (her accompanists are played by members of the Kasai Allstars band). When her son is seriously injured in an accident, she goes in search of money for his medical care and embarks on a double journey: through the punishing outer world of the city and the inner world of the soul. Félicité is tough, tender, lyrical, mysterious, funny, and terrifying, both responsive to the moment and fixed on its heroine’s spiritual progress. A Strand Releasing release.

The Florida Project
Dir. Sean Baker, USA, 2017, 105m
U.S. Premiere
A six-year-old girl (the remarkable Brooklynn Prince) and her two best friends run wild on the grounds of a week-by-week motel complex on the edge of Orlando’s Disney World. Meanwhile, her mother (talented novice Bria Vinaite) desperately tries to cajole the motel manager (an ever-surprising Willem Dafoe) to turn a blind eye to the way she pays the rent. A film about but not for kids, Baker’s depiction of childhood on the margins has fierce energy, tenderness, and great beauty. After the ingenuity of his iPhone-shot 2015 breakout Tangerine, Baker reasserts his commitment to 35mm film with sun-blasted images that evoke a young girl’s vision of adventure and endurance beyond heartbreak. An A24 release.

Ismael’s Ghosts/Les fantômes d’Ismaël
Dir. Arnaud Desplechin, France, 2017, 132m
North American Premiere
Phantoms swirl around Ismael (Mathieu Amalric), a filmmaker in the throes of writing a spy thriller based on the unlikely escapades of his brother, Ivan Dedalus (Louis Garrel). His only true source of stability, his relationship with Sylvia (Charlotte Gainsbourg), is upended, as is the life of his Jewish documentarian mentor and father-in-law (László Szabó), when Ismael’s wife Carlotta (Marion Cotillard), who disappeared twenty years earlier, returns, and, like one of Hitchcock’s fragile, delusional femmes fatales, expects that her husband and father are still in thrall to her. A brilliant shape-shifter—part farce, part melodrama—Ismael’s Ghosts is finally about the process of creating a work of art and all the madness required. A Magnolia Pictures release.

Lady Bird
Dir. Greta Gerwig, USA, 2017, 93m

Greta Gerwig’s directorial debut is a portrait of an artistically inclined young woman (Saoirse Ronan) trying to define herself in the shadow of her mother (Laurie Metcalf) and searching for an escape route from her hometown of Sacramento. Moods are layered upon moods at the furious pace of late adolescence in this lovely and loving film, which shifts deftly from one emotional and comic register to the next. Lady Bird is rich in invention and incident, and it is powered by Ronan, one of the finest actors in movies. With Lucas Hedges and Timothée Chalamet as the men in Lady Bird’s life, Beanie Feldstein as her best friend, and Tracy Letts as her dad. An A24 release.

Lover for a Day/L’Amant d’un jour
Dir. Philippe Garrel, France, 2017, 76m
North American Premiere
Lover for a Day is an exquisite meditation on love and fidelity that recalls Garrel's previous NYFF selections Jealousy (NYFF 2013) and In the Shadow of Women (NYFF 2015). After a painful breakup, heartbroken Jeanne (Esther Garrel) moves back in with her university professor father, Gilles (Eric Caravaca), to discover that he is living with optimistic, life-loving student Ariane (newcomer Louise Chevillotte), who is the same age as Jeanne. An unusual triangular relationship emerges as both girls seek the favor of Gilles, as daughter or lover, while developing their own friendship, finding common ground despite their differences. Gorgeously shot in grainy black and white by Renato Berta (Au revoir les enfants), Lover for a Day perfectly illustrates Garrel's poetic exploration of relationships and desire. A MUBI release.

The Meyerowitz Stories (New and Selected)
Dir. Noah Baumbach, USA, 2017, 110m
North American Premiere
Noah Baumbach revisits the terrain of family vanities and warring attachments that he began exploring with The Squid and the Whale in this intricately plotted story of three middle-aged siblings (Adam Sandler, Ben Stiller, and Elizabeth Marvel) coping with their strong-willed father (Dustin Hoffman) and the flightiness of his wife (Emma Thompson). Baumbach’s film never stops deftly changing gears, from surges of pathos to painful comedy and back again. Needless to say, this lyrical quicksilver comedy is very much a New York experience. A Netflix release.

Colesmithey.com

Mrs. Hyde/Madame Hyde
Dir. Serge Bozon, France, 2017, 95m
North American Premiere
Serge Bozon’s eccentric comedic thriller is loosely based on Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, with many a twist. Mrs. Géquil (Isabelle Huppert), a timid and rather peculiar physics professor, teaches in a suburban technical high school. Apart from her quiet married life with her gentle stay-at-home husband, she is mocked and despised on a daily basis by pretty much everyone around her—headmaster, colleagues, students. During a dark, stormy night, she is struck by lightning and wakes up a decidedly different person, a newly powerful Mrs. Hyde with mysterious energy and uncontrollable powers. Highlighted by Bozon's brilliant mise en scène, Isabelle Huppert hypnotizes us again, securing her place as the ultimate queen of the screen.

Mudbound
Dir. Dee Rees, USA, 2017, 134m
Writer/director Dee Rees’s historical epic details daily life and social dynamics in the failing economy of Mississippi during the World War II era. Two families, one white (the landlords) and one black (the sharecroppers), work the same miserable piece of farmland. Out of need and empathy, the mothers of the two families bond as their younger male relatives go off to war and learn that there is a world beyond racial hatred and fear. The flawless ensemble cast includes Carey Mulligan, Mary J. Blige, Garrett Hedlund, Jason Mitchell, Jason Clarke, Rob Morgan, and Jonathan Banks. A Netflix release.

On the Beach at Night Alone
Dir. Hong Sang-soo, South Korea, 2017, 101m
Hong Sang-soo’s movies have always invited autobiographical readings, and his 19th feature is perhaps his most achingly personal film yet, a steel-nerved, clear-eyed response to the tabloid frenzy that erupted in South Korea over his relationship with actress Kim Min-hee. The film begins in Hamburg, where actress Young-hee (played by Kim herself, who won the Best Actress prize at Berlin for this role) is hiding out after the revelation of her affair with a married filmmaker. Back in Korea, a series of encounters shed light on Young-hee’s volatile state, as she slips in and out of melancholic reflection and dreams. Centered on Kim’s astonishingly layered performance, On the Beach at Night Alone is the work of a master mining new emotional depths. A Cinema Guild release.

The Other Side of Hope/Toivon tuolla puolen
Dir. Aki Kaurismäki, Finland, 2017, 98m
Leave it to Aki Kaurismäki (Le Havre, NYFF 2011), peerless master of humanist tragicomedy, to make the first great fiction film about the 21st century migrant crisis. Having escaped bombed-out Aleppo, Syrian refugee Khlaed (Sherwan Haji) seeks asylum in Finland, only to get lost in a maze of functionaries and bureaucracies. Meanwhile, shirt salesman Wikström (Sakari Kuosmanen) leaves his wife, wins big in a poker game, and takes over a restaurant whose deadpan staff he also inherits. These parallel stories dovetail to gently comic and enormously moving effect in Kaurismäki’s politically urgent fable, an object lesson on the value of compassion and hope that remains grounded in a tangible social reality. A Janus Films release.

The Rider
Dir. Chloé Zhao, USA, 2017, 104m
The hardscrabble economy of America’s rodeo country, where, for some, riding and winning is the only source of pleasure and income, is depicted with exceptional compassion and truth by a filmmaker who is in no way an insider: Zhao was born in Beijing and educated at Mount Holyoke and NYU. Set on the Pine Ridge Reservation in South Dakota, The Rider is a fiction film that calls on nonprofessional actors to play characters similar to themselves, incorporating their skill sets and experiences. Brady Jandreau is extraordinary as a badly injured former champion rider and horse trainer forced to give up the life he knows and loves. A Sony Pictures Classics release.

Spoor/Pokot
Dir. Agnieszka Holland, in cooperation with Kasia Adamik, Poland/Germany/Czech Republic, 2017, 128m
U.S. Premiere
Janina Duszejko (Agnieszka Mandat) is a vigorous former engineer, part-time teacher, and animal activist, living in a near wilderness on the Polish-Czech border, where hunting is the favored year-round sport of the corrupt men who rule the region. When a series of hunters die mysteriously, Janina wonders if the animals are taking revenge, which doesn’t stop the police from coming after her. A brilliant, passionate director, Agnieszka Holland—who like Janina comes from a generation that learned to fight authoritarianism by any means necessary—forges a sprawling, wildly beautiful, emotionally enveloping film that earns its vision of utopia. It’s at once a phantasmagorical murder mystery, a tender, late-blooming love story, and a resistance and rescue thriller.

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The Square
Dir. Ruben Östlund, Sweden, 2017, 150m
A precisely observed, thoroughly modern comedy of manners, Ruben Östlund’s Palme d’Or–winner revolves around Christian (Claes Bang), a well-heeled contemporary art curator at a Stockholm museum. While preparing his new exhibit—a four-by-four-meter zone designated as a “sanctuary of trust and caring”—Christian falls prey to a pickpocketing scam, which triggers an overzealous response and then a crisis of conscience. Featuring several instant-classic scenes and a vivid supporting cast (Elisabeth Moss, Dominic West, and noted motion-capture actor Terry Notary), The Square is the most ambitious film yet by one of contemporary cinema’s most incisive social satirists, the rare movie to have as many laughs as ideas. A Magnolia Pictures release.

Thelma
Dir. Joachim Trier, Norway/Sweden/France, 2017, 116m
In the new film from Joachim Trier (Reprise), an adolescent country girl (Eili Harboe) has just moved to the city to begin her university studies, with the internalized religious severity of her quietly domineering mother and father (Ellen Dorrit Petersen and Henrik Rafaelsen) always in mind. When she realizes that she is developing an attraction to her new friend Anja (Okay Kaya), she begins to manifest a terrifying and uncontrollable power that her parents have long feared. To reveal more would be a crime; let’s just say that this fluid, sharply observant, and continually surprising film begins in the key of horror and ends somewhere completely different. A release of The Orchard.

Western
Dir. Valeska Grisebach, Germany and Bulgaria, 2017, 119m
U.S. Premiere
As its title suggests, German director Valeska Grisebach’s first feature in a decade is a supremely intelligent genre update that recognizes the Western as a template on which to draw out eternal human conflicts. In remote rural Bulgaria, a group of German workers are building a water facility. Meinhard (Meinhard Neumann), the reserved newbie in this all-male company, immediately draws the ire of the boorish team leader, not least for his willingness to mingle with the wary locals. Cast with utterly convincing nonprofessional actors, Western is a gripping culture-clash drama, attuned both to old codes of masculinity and new forms of colonialism. A Cinema Guild release.

Zama
Dir. Lucrecia Martel, Argentina/Brazil/Spain, 2017, 115m
U.S. Premiere
The great Lucrecia Martel ventures into the realm of historical fiction and makes the genre entirely her own in this adaptation of Antonio di Benedetto’s 1956 classic of Argentinean literature. In the late 18th century, in a far-flung corner of what seems to be Paraguay, the title character, an officer of the Spanish crown (Daniel Giménez Cacho) born in the Americas, waits in vain for a transfer to a more prestigious location. Martel renders Zama’s world—his daily regimen of small humiliations and petty politicking—as both absurd and mysterious, and as he increasingly succumbs to lust and paranoia, subject to a creeping disorientation. Precise yet dreamlike, and thick with atmosphere, Zama is a singular and intoxicating experience, a welcome return from one of contemporary cinema’s truly brilliant minds.

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. 

Support for the New York Film Festival is generously provided by Official Partner HBO® and The New York Times, Benefactor Partners Verizon, FilmStruck, The Village Voice, Dolby, and illy caffé, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, Variety, The Hollywood Reporter, Deadline Hollywood, JCDecaux, and The Mayor's Office of Media and Entertainment serve as Media Sponsors.

For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

July 31, 2017

JANE CAMPION'S OWN STORIES AT FSLC

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES JANE CAMPION’S OWN STORIES, SEPTEMBER 8-17 

 Retrospective includes the director’s complete feature filmography plus restored shorts  

Campion in person for a special conversation and sneak preview of Top of the Lake: China Girl


Bright Star / The Piano

New York, NY (July 31, 2017) – The Film Society of Lincoln Center announces Jane Campion’s Own Stories, a retrospective of the groundbreaking filmmaker’s rich and revelatory body of work, September 8-17.

Since her indelible 1989 theatrical feature debut Sweetie, New Zealand–born Jane Campion has been one of the most distinctive talents in world cinema. The first woman awarded the Palme d’Or at Cannes—for her Oscar-winning 1993 feature The Piano—Campion makes films that reflect a highly personal and idiosyncratic style, influenced by her background in anthropology and painting and notable for their visual inventiveness, dark sense of humor, and complex depictions of women and sexuality. For four decades now, Campion has moved freely across genres—family melodrama (Sweetie), gothic romance (The Piano), literary adaptation (An Angel at My Table, The Portrait of a Lady), farce (Holy Smoke), suspense-thriller (In the Cut)—as well as between cinema and television.

Coinciding with the U.S. premiere of Campion’s eagerly awaited series Top of the Lake: China Girl on SundanceTV this September, the Film Society presents a retrospective survey of the director’s work, including her complete feature filmography, entirely on celluloid; her underseen made-for-television first feature Two Friends on 16mm; a program of short films, including three restored early works and two recent ones; and a free marathon screening of the first installment of Top of the Lake held in the Elinor Bunin Munroe Film Center’s Amphitheater.

The filmmaker will appear in person for two special events: An Evening with Jane Campion, a career-spanning discussion to kick off the series on Friday, September 8, and a sneak preview of the first two episodes of Top of the Lake: China Girlon Saturday, September 9, featuring a post-screening Q&A with Campion and series co-creator Gerard Lee.

Tickets go on sale August 24, with an early access period for Film Society Members beginning August 22, and are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with the 3+ film discount package. Note: Special pricing may apply to select events. Learn more at filmlinc.org.

Organized by Dennis Lim and Tyler Wilson.

Jane Campion’s Own Stories is sponsored by SundanceTV. Top of the Lake: China Girl premieres as a 3-night special event starting September 10.

Acknowledgments:
SundanceTV; See-Saw Films; BBC Worldwide; Australian Film, Television and Radio School; National Film & Sound Archive of Australia; Chicago Film Society; Yale Film Study Center; Kate Richter.

FILMS & DESCRIPTIONS
All films screen at the Walter Reade Theater (165 West 65th Street) unless otherwise noted. 

Colesmithey.com

An Angel at My Table
New Zealand/Australia/UK/USA, 1990, 35mm, 158m
Based on the autobiography of Janet Frame, Campion’s clear-eyed, sprawling feature—initially produced as a television miniseries—depicts the life of New Zealand’s most acclaimed author, who spent eight years hospitalized after a mistaken schizophrenia diagnosis. Divided into three sections, Frame’s story is told through different actresses (Alexia Keogh, Karen Fergusson, and Kerry Fox—each sublime and uncannily matched) who inhabit various ages of the writer’s life, from her childhood in prewar New Zealand, to her introverted adolescence and harrowing years around her institutionalization, to her literary success and experiences around the world. Intricate in its representation of time and interiority, An Angel at My Table is an unsentimental yet emotionally intense portrait of the artist as both narrator and subject. An NYFF28 selection. Print courtesy of the National Film & Sound Archive, Australia.
Sunday, September 10, 3:00pm
Saturday, September 16, 4:00pm

Bright Star
UK/Australia/France, 2009, 35mm, 119m
Campion’s latest feature film is a quietly tender love story as well as a devastating portrait of an artist beset by tragedy. During the last few years of the fledgling poet's tragic life, John Keats (Ben Whishaw) is introduced to Fanny Brawne (Abbie Cornish) in London, 1818. Although the two embark on a passionate courtship—to the dismay of others in their circle, including Keats’s friend and writing associate Charles Brown (Paul Schneider)—their vibrant love affair is nonetheless shaded by imminent heartbreak. With Greig Fraser’s delicate cinematography, longtime Campion collaborator Janet Brown’s sophisticated production design (The PianoThe Portrait of a Lady), and the vivacious chemistry between the film’s accomplished young leads, Bright Star is Campion’s most romantic film to date.
Monday, September 11, 6:30pm
Sunday, September 17, 8:00pm

Holy Smoke
USA/Australia, 1999, 35mm, 115m
Kate Winslet and Harvey Keitel turn in brave performances in this madcap comedy of the sexes, written by Jane and her sister Anna Campion (to whom Sweetie is dedicated). After falling under the sway of a cultish guru in India, Ruth Barron (Winslet) is deceived by her parents to return home so that she can be deprogrammed by world-renowned “exit counselor” PJ Waters (Keitel). Something between a therapist and a mercenary, Waters travels halfway around the world and takes Ruth into the Australian bush to interrogate, question, and break down everything she believes—but what begins as a debate over spiritual ideals spirals into a role reversal that must be seen to be believed. Holy Smoke was Campion’s most unusual film since Sweetie: a funny and hallucinatory critique of patriarchal civility, but one whose message is ultimately humanist. An NYFF37 selection.
Sunday, September 10, 9:00pm
Friday, September 15, 6:30pm

In the Cut
USA/UK/Australia, 2003, 35mm, 119m
Based on the novel by Susanna Moore and produced by Nicole Kidman, In the Cut renders the erotic thriller with a haunting, meditative gaze. After learning about the brutal murder of a young woman in her neighborhood, English professor Frannie Avery (Meg Ryan, in a powerful and uncharacteristic role) begins an affair with one of the investigating police detectives, Giovanni Malloy (Mark Ruffalo). As their relationship becomes increasingly passionate, Frannie questions Malloy’s suspicious role in the investigation, and uses sexual desire as a tool for defense and titillation. Framing noughties New York with a soft amber glow and subjective visual style, In the Cut knowingly investigates the means of perception—obscuring, among other archetypes, the line between female victim and femme fatale.
Friday, September 15, 9:00pm
Sunday, September 17, 2:30pm

The Piano
New Zealand/Australia/France, 1993, 35mm, 121m
Campion became the first female director to win the Palme d’Or at Cannes for this singularly haunting and beautiful tale, suffused with her anthropological, literary, and surrealist impulses. In the 19th century, mute Scotswoman Ada and her young daughter (Holly Hunter and Anna Paquin, who both won Oscars for their roles) move to remote coastal New Zealand to meet her new husband, Stewart (Sam Neill). After he sells her beloved piano—her preferred means of communication—to Baines (Harvey Keitel), Stewart’s employee and a local eccentric, Ada agrees to repossess her property through sexual favors. A mysterious and subdued romance as well as a fearless depiction of power and sexuality, The Piano announced to audiences worldwide the boldly original talent already on display in Sweetie and An Angel at My Table. An NYFF31 selection. Print Courtesy of the Yale Film Study Center.
Sunday, September 10, 6:00pm
Saturday, September 16, 9:00pm

The Portrait of a Lady
UK/USA, 1996, 35mm, 144m
As early as its opening credit sequence, this interpretation of Henry James’s masterwork insinuates a modern, tactile, and perceptive vision that is entirely Campion’s. Nicole Kidman stars as the resolute young American, Isabel Archer, who rejects a proposal from her English cousin (Richard E. Grant) and falls prey to the schemes of two American expatriates, the independent and worldly Madame Merle (Barbara Hershey) and Gilbert Osmond (John Malkovich), a dilettante artist with little means but enough cunning to woo Isabel. Sumptuously photographed and exceedingly intelligent, The Portrait of a Lady is a cinematic fever dream fascinated by the pictorial and sensuous forms of dominance within James’s text, and the inextricable bond between romantic love and violence.
Friday, September 8, 9:00pm
Sunday, September 17, 5:00pm

Shorts: 1982-2007 (TRT: 70m)
An Exercise in Discipline: Peel
Australia, 1982, 9m
A father, his son, and sister grow increasingly hostile toward one another after an orange peel is tossed out a car window. Winner of the Cannes Film Festival’s Palme d’Or for Best Short Film in 1986.
Passionless Moments
Australia, 1983, 13m
An omniscient narrator recounts a series of brief, droll vignettes around a neighborhood in Sydney.
A Girl’s Own Story
Australia, 1984, 27m
Campion’s final student film follows the disquieting familial and social encounters of three adolescent girls—Pam, Stella, and Gloria—in 1960s Australia.  
The Water Diary
Australia/France, 2006, 18m
Produced for the 2008 anthology film 8 about the United Nations' eight Millennium Development Goals, The Water Diaryis a mystical vision of a family living through a drought in the Australian outback.
The Lady Bug
France, 2007, 3m
A woman dressed like an insect tries to dance while a cleaning man tries to kill her. Made for the collective film To Each His Own Cinema to celebrate the 60th Anniversary of the Cannes Film Festival.
Tuesday, September 12, 7:00pm*
Thursday, September 14, 9:00pm*
*Elinor Bunin Munroe Film Center, Francesca Beale Theater, 144 West 65th Street

Sweetie
Australia, 1989, 35mm, 97m
If Campion’s Palme d’Or–winning short An Exercise in Discipline: Peel announced a promising new voice in cinema, Sweetie found the filmmaker in full command of her descriptive, surrealist visual style and iconoclastic sense of humor. Co-written by Gerard Lee (Top of the Lake), this bleakly funny and profoundly unsettling film is centered around a pair of dysfunctional sisters in Sydney, Australia: Kay (Karen Colston), a repressed and superstitious twenty-something woman who still lives at home, and the unhinged, domineering Sweetie (Geneviève Lemon), who returns and disturbs the family dynamic. Gradually, the reasons for the sisters’ peculiar adult behavior come into focus. Vibrantly photographed by Sally Bongers, Sweetie depicts Australian suburbia and its residents as both simultaneously mundane and menacing, ludicrous and moving, comical and disturbing. An NYFF27 selection. Print courtesy of the Chicago Film Society.
Saturday, September 9, 9:30pm
Monday, September 11, 9:00pm
Saturday, September 16, 7:00pm

Two Friends
Australia, 1986, 16mm, 76m
A coming-of-age story told in reverse, Campion’s underseen first feature (written by renowned Australian novelist Helen Garner) delicately renders femininity and adolescence through the depiction of two girls’ unraveling friendship. Kris Bidenko and Emma Coles deliver nuanced debut performances as Kelly and Louise, 15-year-olds whose relationship has already ended at the film’s start. Moving backwards from there, Campion reveals—in a manner both tragic and deceptively optimistic—the fleeting moments of the past year that suggest how, where, and when the girls’ paths diverged. Originally made for television, Two Friends screened at the 1986 Cannes Film Festival along with three of Campion’s student films, An Exercise in Discipline: PeelPassionless Moments, and A Girl’s Own Story.
Tuesday, September 12, 9:00pm*
Thursday, September 14, 7:00pm*
*Elinor Bunin Munroe Film Center, Francesca Beale Theater, 144 West 65th Street

SPECIAL EVENTS

Conversation
An Evening with Jane Campion (TRT approx. 90m)
In anticipation of Top of the Lake: China Girl—a highlight at this year’s Cannes Film Festival, airing on SundanceTV starting in September—Jane Campion will join us at the Film Society of Lincoln Center for a special onstage conversation spanning her entire career, featuring excerpts from her acclaimed crime series as well as her features and short films. She will discuss the work that has inspired and influenced her career and take questions from the audience.
Friday, September 8, 7:00pm

Sneak Preview
Top of the Lake: China Girl (episodes 1 & 2)
Jane Campion & Ariel Kleiman, UK/Australia/New Zealand/USA, 2017, approx. 120m
Elisabeth Moss reprises her Golden Globe–winning role as Detective Robin Griffin in the second installment of Campion and co-creator Gerard Lee’s acclaimed miniseries, which also features fresh characters played by Nicole Kidman and Gwendoline Christie. Four years after the traumatic events of 2013’s Top of the Lake, Robin struggles with her past while attempting to find normalcy following a break up with her fiancé and the police force. The remote landscape of Laketop, New Zealand, has been exchanged for the urban congestion of Sydney, home to Robin’s latest case, concerning a pregnant corpse found washed ashore. Following the series’ acclaimed premiere at this year’s Cannes Film Festival, the Film Society of Lincoln Center is pleased to present a sneak preview of the new season’s first two episodes, directed by Campion and Ariel Kleiman. A SundanceTV release.
Saturday, September 9, 6:30pm (Q&A with Jane Campion and Gerard Lee)

Free Screening
Top of the Lake
Jane Campion & Garth Davis, New Zealand, 2013, 342m
Elisabeth Moss stars in this thrilling, seven-episode television series, perhaps the toughest, wildest drama Campion has ever made. With its vast, primal setting and six-hour time frame, Top of the Lake is episodic television as epic poem, the Trojan War recast as gender battle. Moss plays a detective who has returned to the bleak rural town where she grew up in order to spend time with her dying mother, and is soon recruited by the sole local police officer (David Wenham) to investigate a case of statutory rape. The 12-year-old victim refuses to disclose who got her pregnant, but there are no lack of suspects. The themes that underscore Campion’s films are all here, particularly the fear that bedevils female agency: of making bad, even deadly, choices in matters of sex and love.
Saturday, September 9, 12:00pm*
*Elinor Bunin Munroe Film Center, Amphitheater, 144 West 65th Street

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

July 27, 2017

STEPHEN KING'S IT — TRAILER

Everyone knows clowns are creepy as hell; Stephen King's it promises to be the scariest movie of the year. Boo! Mike and I might just have to include IT in our SHOCKTOBER podcast line-up for LA GRANDE BOUFFE (THE BIG FEAST). The film will be released on September 8. 

July 25, 2017

GANGS OF NEW YORK: Martin Scorsese & Daniel Day-Lewis (2002)

There Will Be Blood: Daniel-Day Lewis & Paul Thomas Anderson (2007)

July 20, 2017

WONDERSTRUCK — TRAILER & POSTER

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