3/6/67: Ingmar Bergman's Persona (NYC) 🙏🙏
w/Bibi & Liv, + Gunnar
From Us: midcenturycinema.org/2017/03/09/5...
More:
@tnyfrontrow.bsky.social: www.newyorker.com/magazine/201...
@gointothestory.bsky.social: gointothestory.blcklst.com/classic-60s-...
Susan Sontag: scrapsfromtheloft.com/movies/perso...
Claude Lanzmann's colossal, historic, nearly metaphysical Shoah—a conjuring—screens at L'Alliance today at 6/tomorrow at 4, introduced by Arnaud Desplechin; three words from a while back:
www.newyorker.com/magazine/201...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
Saw the Buckley-Mescal cat-astrophe, and the real issue isn't feline; it's that they're much looser, freer, more fun there than they're allowed to be in the movies for which they're acclaimed—in which they're directed to act dour and never seem like the people in the interview.
www.newyorker.com/culture/like...
www.newyorker.com/goings-on-ab...
Can't do both: Shoes, Lois Weber's 1916 silent film of a woman's silenced despair @filmforumnyc.bsky.social 6:10pm (w/piano accompaniment by Steve Sterner); Husbands, John Cassavetes's death-stunned, horrific, horrified vision of men's lives of loud desperation @anthologyfilm.bsky.social 7pm, 35mm.
The Bride! has such a good premise, built on a sound principle, with so many fascinating implications, that its failure to develop them is all the more disappointing: www.newyorker.com/culture/the-...
His last great film (to date).
In cinema:
www.newyorker.com/culture/rich...
In thought as such:
www.newyorker.com/culture/rich...
Reminded by @liberation.fr that it's the thirtieth anniversary of the death of Marguerite Duras, whose films are as rare here now as they were then, including her incomparable masterwork of story-telling, The Truck; a word on its cinematic place and another on its psychological one:...
The Bigamist, Ida Lupino's last feature with her own production company—a great melodrama with the flair and the freedom of independence and the ratcheted-up passion of filming herself—screens tonight at 8 at @filmforumnyc.bsky.social introduced by Melissa Anderson
www.newyorker.com/goings-on-ab...
Le Pont du Nord
L'Amour fou
The Gang of Four
Haut Bas Fragile
Paris Belongs to Us
Max Ophuls, cine-historian: Lola Montès, at Metrograph at 2:15pm, with European politics meeting Barnum spectacle; From Mayerling to Sarajevo (not in the series); and Le Plaisir, the living image of France in the age of Maupassant:
www.newyorker.com/culture/rich... www.newyorker.com/goings-on-ab...
2/28/71: Barbara Loden's indie landmark Wanda
More via:
A party of favorites: www.criterion.com/current/post...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
@cinemiasma.bsky.social: www.bloomsbury.com/us/wanda-978...
@kristinmjones.bsky.social: www.frieze.com/article/barb...
What Does That Nature Say to You, opening today at @lincolncenter.bsky.social, is one of the most lucid and volatile of Hong Sangsoo's films—its roaring power is couched in a near-pop story:
www.newyorker.com/culture/the-...
Pardon my obsession, but "auteur" doesn't go with "theory"; it's a "politique" that reflects an experience; here, a couple of words about what Truffaut and his critical cohort derived from the practice and the concept:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Great news that Maurice Pialat's six-hour-plus TV miniseries La maison des bois (The House in the Woods), from 1971, will finally get released here, at @lincolncenter.bsky.social April 22, in a new restoration; it's the magma of his volcanic feature films:
www.newyorker.com/magazine/201...
2/25/20: Hong Sang-soo's The Woman who Ran
Peak HSS for us
More:
@tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...
@manohladargis.bsky.social: www.nytimes.com/2020/09/17/m...
@jessicakiang.bsky.social: variety.com/2020/film/re...
@htranbui.bsky.social: www.slashfilm.com/577202/the-w...
A word on the prevalence and prominence of nonprofessional actors in some of the year's best movies, with a look back at precedents distant and recent (including Licorice Pizza):
www.newyorker.com/culture/the-...
Fun piece—except for the anti-Skidoo aspersions: www.newyorker.com/culture/rich...
Too good to be true, but here it is: Bardot in the Lincoln:
www.artsy.net/artwork/doug...
Hitchcock's most Hawksian film (the father-daughter relationship.
Ghost trees of the blizzard (from a few hours ago):
Chabrol is very variable; this is one of the better ones.
Take Me to Town, an unfortunately obscure but very good film by Douglas Sirk.
Oh, thanks for word; too bad it wasn't, though it's hard to imagine a jury headed by Wenders going for it.
No area code was needed for calls within the same one.
Anticipating the blizzard, suddenly remembered that, when I was a child, there was a phone number to call for weather forecasts: WE6-1212 (the WE was for WEather).
Two sidebars: a blood countess is a vampire but a blood count is a medical test. Also, an odd pattern of acclaimed jazz movies—about Joe Albany, Chet Baker, Bill Evans; the movie business decides strangely about who matters in jazz.
I've only seen one film that premièred at the Berlin Festival, and the prizewinners must have been exceptionally good to have beaten it out: Ulrike Ottinger's The Blood Countess, as funny as it is poignant, as riotously stylized as it is historically loamy. Sharp, wry, exquisite.
Raymond Depardon, on Frederick Wiseman:
"I thank him because when I filmed the seventies, eighties, and so on, there was something pushing me, forcing me, giving me energy. And that something was him."
www.liberation.fr/culture/mort...
