Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Museum of the Moving Image
What do The Earrings of Madame De…, How the West Was Won, and an avant-garde series have in common? They’re all inspired 2001: A Space Odyssey and play in a program this weekend, as does a 70mm print of Kubrick’s film alongside the museum’s incredible new exhibit.
Museum of the Moving Image
What do The Earrings of Madame De…, How the West Was Won, and an avant-garde series have in common? They’re all inspired 2001: A Space Odyssey and play in a program this weekend, as does a 70mm print of Kubrick’s film alongside the museum’s incredible new exhibit.
- 1/16/2020
- by Nick Newman
- The Film Stage
Pregnancy and childbirth are intensely physical events. Despite their bodily primacy, these experiences are freighted with various significations, running the gamut from the woman-centered skill sets of midwifery to the all-too-frequent scaremongering and misinformation of anti-choice politics. This is not surprising since bodies have their semiotic dimension. Everything has meaning. However, the fact that these human events are unavoidably located on and in the female body—a body whose very generative capacity has historically made it an object of fear—seems to produce an excess of verbiage, a lot of it denigrating or punitive. And often this discussion leaves little room for other knowledges—the haptic, the gestural, the somatic.So what if, for a brief moment, we observed silence? To be clear, silence is no solution to political aggression against women. The more persistent the braying of misogynist forces who claim to know best, the louder the protests must be,...
- 1/18/2017
- MUBI
Sundance coverage continues with Glenn on "The Girl from Nagasaki"
Avant-garde cinema isn’t for all audiences. The Girl from Nagasaki proves that it’s not for all directors, either. For whatever virtues Michel Conte has as an artist and a photographer (of which I am unfamiliar), filmmaking may not be of the same league. His debut feature, co-directed alongside his wife Ayako Yoshida, is a wild re-interpretation of Puccini’s famed Japanese-set opera, Madame Butterfly that dissolves into an assault of seemingly meaningless imagery; an experimental, visually symphonic and unfortunately misjudged piece of cinema.
Taking the story of Cio-Cio San and her breakdown at the absence of her American soldier husband and father of her child, Conte’s film at least fails while attempting something bizarrely different. Sadly, in his effort to turn the table on the conventions of narrative film, he has crafted a sort of Frankenstein’s...
Avant-garde cinema isn’t for all audiences. The Girl from Nagasaki proves that it’s not for all directors, either. For whatever virtues Michel Conte has as an artist and a photographer (of which I am unfamiliar), filmmaking may not be of the same league. His debut feature, co-directed alongside his wife Ayako Yoshida, is a wild re-interpretation of Puccini’s famed Japanese-set opera, Madame Butterfly that dissolves into an assault of seemingly meaningless imagery; an experimental, visually symphonic and unfortunately misjudged piece of cinema.
Taking the story of Cio-Cio San and her breakdown at the absence of her American soldier husband and father of her child, Conte’s film at least fails while attempting something bizarrely different. Sadly, in his effort to turn the table on the conventions of narrative film, he has crafted a sort of Frankenstein’s...
- 1/21/2014
- by Glenn Dunks
- FilmExperience
Iconic artist, filmmaker, and poet, James Broughton
It is more than appropriate that the Big Joy: The Adventures of James Broughton made its world premiere at the SXSW Film Festival considering the documentary's subject, James Broughton can very well be considered a Godfather of independent film. More than that, he can be considered a pioneer of bizarre and expressive art that indirectly effects today's artists.
James Broughton is one of those names that, if you know it, marks you as a connoisseur of the obscure and cool. Broughton was a gay poet, filmmaker, and a shining example of West Coast weird. He embodied the life of the California bohemian and was a influential figure during the San Francisco Renaissance. In addition to that he influenced the Beat generation, and was considered a groundbreaking voice in the sexual revolution during the '60s and '70s.
Co-directed by journalist Stephen Siha and documentarian Eric Slade,...
It is more than appropriate that the Big Joy: The Adventures of James Broughton made its world premiere at the SXSW Film Festival considering the documentary's subject, James Broughton can very well be considered a Godfather of independent film. More than that, he can be considered a pioneer of bizarre and expressive art that indirectly effects today's artists.
James Broughton is one of those names that, if you know it, marks you as a connoisseur of the obscure and cool. Broughton was a gay poet, filmmaker, and a shining example of West Coast weird. He embodied the life of the California bohemian and was a influential figure during the San Francisco Renaissance. In addition to that he influenced the Beat generation, and was considered a groundbreaking voice in the sexual revolution during the '60s and '70s.
Co-directed by journalist Stephen Siha and documentarian Eric Slade,...
- 3/27/2013
- by Dino-Ray
- The Backlot
After a several month hiatus — way over half a year — I finally returned to updating Bad Lit’s Underground Film Timeline project, a comprehensive, chronological survey of significant events and films in underground film history. You can start navigating the Timeline here.
Phase 7 of the Timeline involved adding events and films found in P. Adams Sitney‘s landmark book Visionary Film: the American Avant-Garde 1943-2000. As you can tell from the title, I used the 3rd and most recent version of the book.
Originally published in 1974, Visionary Film was the first serious critical survey of the modern underground film movement. Yes, Sheldon Renan’s An Introduction to the American Underground Film had preceded it in 1967, but that offered more of a straight history than analysis. And despite the title of Parker Tyler’s Underground Film: A Critical History being published in 1970, that book is more of an angry polemical rant than a serious survey.
Phase 7 of the Timeline involved adding events and films found in P. Adams Sitney‘s landmark book Visionary Film: the American Avant-Garde 1943-2000. As you can tell from the title, I used the 3rd and most recent version of the book.
Originally published in 1974, Visionary Film was the first serious critical survey of the modern underground film movement. Yes, Sheldon Renan’s An Introduction to the American Underground Film had preceded it in 1967, but that offered more of a straight history than analysis. And despite the title of Parker Tyler’s Underground Film: A Critical History being published in 1970, that book is more of an angry polemical rant than a serious survey.
- 9/28/2011
- by Mike Everleth
- Underground Film Journal
This week’s Must Read: The Brooklyn Rail offers up a eulogy for Adolfas Mekas by gathering comments from the likes of P. Adams Sitney, Peggy Ahwesh, Ken Jacobs and other colleagues/contemporaries. Mekas passed away in May.The Guardian got a rare interview with Jean-Luc Godard who has declared that we are all auteurs now. Good.If you hadn’t heard, structural film pioneer Owen Land passed away last month, but news of his passing only came late last week. I think Lux has the best, most detailed obit for him. Although, the Office Baroque Gallery has a very passionate one — and I think initial word of Land’s death came from them.More Land: Making Light of It posts a scan of an interview with him conducted by P. Adams Sitney from Film Culture. (I actually happen to own two issues of Film Culture, one of which includes this great interview.
- 7/17/2011
- by Mike Everleth
- Underground Film Journal
Updated through 5/10.
"The filmmaker and Oakland native Sidney Peterson once scatted that after World War II, San Francisco 'was a city hanging loose, a small pocket edition, for a brief period, of the Vienna of Wittgenstein and Musil, and the Zurich of Tzara, the Cologne, the Berlin, the Paris, the Hanover, the New York of Dada.'" In the New York Times, Manohla Dargis notes that the version of Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945 - 2000 presented at Anthology Film Archives today and tomorrow and at MoMA on Sunday and Monday "doesn't go as deep or as wide as the original, of course. But it's something of a movable feast nonetheless, and it gives you plenty to chew on, starting with an entire program dedicated to Peterson, a sculptor, painter and novelist whose adventures in the seventh art in the late 1940s turned him...
"The filmmaker and Oakland native Sidney Peterson once scatted that after World War II, San Francisco 'was a city hanging loose, a small pocket edition, for a brief period, of the Vienna of Wittgenstein and Musil, and the Zurich of Tzara, the Cologne, the Berlin, the Paris, the Hanover, the New York of Dada.'" In the New York Times, Manohla Dargis notes that the version of Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945 - 2000 presented at Anthology Film Archives today and tomorrow and at MoMA on Sunday and Monday "doesn't go as deep or as wide as the original, of course. But it's something of a movable feast nonetheless, and it gives you plenty to chew on, starting with an entire program dedicated to Peterson, a sculptor, painter and novelist whose adventures in the seventh art in the late 1940s turned him...
- 5/10/2011
- MUBI
In the fall of 1946, Frank Stauffacher mounted a major, and very influential, retrospective of avant-garde film in the U.S. at the San Francisco Museum of Art. The series was called “Art in Cinema” and it featured ten different programs from filmmakers in the U.S., France, Germany and Canada.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
- 12/15/2010
- by Mike Everleth
- Underground Film Journal
First the history, then the list:
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
- 5/3/2010
- by Mike Everleth
- Underground Film Journal
Every year for the last 20 years, 25 motion pictures have been selected for archiving in the Library of Congress' National Film Registry. Here's the full of list of this year's films, while after the break I will embed full video for some of the shorts. Dog Day Afternoon, Dir. Sidney Lumet (1975) The Exiles, Dir. Kent MacKenzie (1961) Heroes All, Dir. Anthony Young (1920) Hot Dogs for Gauguin, Dir. Martin Brest (1972) The Incredible Shrinking Man, Dir. Jack Arnold (1957) Jezebel, Dir. William Wyler (1938) The Jungle, Dir. Charlie "Brown" Davis, Jimmy "Country" Robinson, David "Bat" Williams (1967) The Lead Shoes, Dir. Sidney Peterson (1949) Little Nemo, Dir. Winsor McCay (1911) Mabel's Blunder, Dir. Mabel Normand (1914) The Mark of Zorro, Dir. Rouben Mamoulian (1940) Mrs. Miniver, Dir. William Wyler (1942) The Muppet Movie, Dir. James Frawley (1979) Once Upon a Time in the West, Dir. Sergio Leone (1968) Pillow Talk, Dir. Michael Gordon (1959) Precious Images, Dir. Chuck Workman (1986) Quasi at the Quackadero, ...
- 12/30/2009
- by Brendon Connelly
- Slash Film
James Cameron in Los Angeles with 70Mm prints of "Aliens" and "The Abyss"?!?! The Dardenne brothers in New York for a career retrospective?!?! The instant cult classic "The Room" with Tommy Wiseau live in Austin?!?! Be still my heart. There's something for all tastes this summer on the West Coast, the East Coast and as you'll notice, the Third Coast on our calendar of the must-see events on the repertory theater circuit in May, June and July. And don't miss our look at the indie films that are hitting theaters or headed to online, VOD or DVD premiere this summer.
Anthology Film Archives
With the New York Polish Film Festival (May 6-10) and first-runs of the docs "Ice People" (May 1-7) and "Audience of One" (May 8-14) and Ken Jacobs' reinvention of his 1969 work "Tom, Tom, The Piper's Son" with the 3D "Anaglyph Tom" (May 15-21) taking up the Anthology's screens,...
Anthology Film Archives
With the New York Polish Film Festival (May 6-10) and first-runs of the docs "Ice People" (May 1-7) and "Audience of One" (May 8-14) and Ken Jacobs' reinvention of his 1969 work "Tom, Tom, The Piper's Son" with the 3D "Anaglyph Tom" (May 15-21) taking up the Anthology's screens,...
- 5/5/2009
- by Stephen Saito
- ifc.com
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