What’s Showing Today? Saturday, September 20
Click venue names for ticket info & directions
Featured Screening: Good Men, Good Women at Museum of the Moving Image. Post by Patrick Dahl.
In River of Shadows, Rebecca Solnit’s lyrical history of the early experiments that gradually begat cinema, Americans of the late 19th century saw the economically entwined (thanks to the deep pockets of Cornelius Vanderbilt) technologies of railways and motion pictures as a double-headed “annihilation of space and time.” The first films and cross-country rail journeys violently dismantled perceptions of the velocity and contiguity of the world. In the cinema of Hou Hsiao Hsien, the effect is something gentler, more like the liquefaction of space and time. Like a pair of lungs, Hou’s films expand and contract, protracting minutes and collapsing decades.
On its surface, Good Men, Good Women concerns the past and present of an actress. Currently, she’s immersing herself in the role of Chiang Bi-Yu, a Taiwanese newlywed who joined the mainland resistance against Japanese occupation in the 1940s. Subsequently, she, along with her husband, is charged with spying for the Japanese and is later persecuted upon her return to Taiwan after the war. Chiang’s true story is recounted by Hou in black and white segments detailing the horror and confusion of abandoning one’s life in the service of an ungrateful history. Both the actress and Chiang are played elegantly by Annie Shizuka Inoh, embodying the times and spaces separated by decades flowing gently into one another.
In her past, the actress had been a drug addict and gangster’s moll. As she contemplates Chiang’s life, her own is destabilized as she receives silent phone calls along with faxes of pages torn from her stolen diary. Forced to re-engage with the thoughts and events of her forlorn history– mostly concerning a murdered boyfriend and his aloof replacement – the actress relives her personal past as she struggles to inhabit Chiang’s historical moment.
As with all of Hou’s work – the majority of them masterpieces – Good Men, Good Women is deliberate and serene. Narratives, cinematic and otherwise, are constructed to build anticipation. Efficient films barrel forward, amplifying that anticipation to the level of anxiety, for which they provide a mechanical antidote in an unforeseen – yet entirely expected – climax. Hou goes the other way, abandoning necessity and efficiency, hovering attentively above his proceedings. The themes surrounding his stories are massive and the interpersonal melodrama wrenching, but Hou has managed to create an aesthetic that preserves the impact of his stories without clenching his fist around viewers’ throats. His camera keeps a discreet distance and declines to impose itself upon the proceedings; it will often reframe or shift closer, but the effect is leaning, not pushing. His shots, like his scenes and films, flow forward and backward, dramatically but unanxiously. As viewers, we are given time and space to breathe, and, like the actress, contemplate our relationship to the past and present. - Patrick Dahl
Lines and Nodes: Media, Infrastructure, and Aesthetics at Anthology Film Archives
- Daybreak Express (D.A. Pennebaker), Bridge Tender (Hunter Snyder) and Tectonics (Peter Bo Rappmund). Details. 16mm/digital video/digital video. 1953/2013/2012. 75 min. 3:00 pm.
- Canal/Il Canale and The Path of Oil/La Via del Petrolio (Bernardo Bertolucci). Details. 35mm/digital video. 1967. 152 min. 5:15 pm.
- Program 4: Circulations. Details. Work by Len Lye, Mathieu Kleyebe Abonnenc, Bouchra Khalili and Ralph Keene. 16mm/digital video/digital video/video. 1937-2012. 100 min. 8:30 pm.
Films by Joseph Sarno at Anthology Film Archives
- Moonlighting Wives. Details. 35mm. 1966. 86 min. 5:00 pm.
- Deep Throat, Part II. Details. 35mm. 1974. 88 min. 9:00 pm.
THESOURCE360 at BAMcinématek
- The Man with the Iron Fists (RZA). Details. RZA in attendance for Q&A. 2012. 96 min. 4:30 pm.
- Rhyme & Reason (Peter Spirer). Details. 1997. 94 min. 7:15 pm.
- Dave Chapelle’s Block Party (Michael Gondry). Details. 2006. 111 min. 9:45 pm.
NYFF Opening Acts at Film Society of Lincoln Center
- Corpo celeste (Alice Rohrwacher). Details. 35mm. 2011. 100 min. 2:00 pm.
- Body Snatchers (Abel Ferrara). Details. 35mm. 1993. 87 min. 4:15 pm.
- All is Forgiven (Mia Hansen-Løve). Details. 35mm. 2007. 105 min. 6:15 pm.
- Cold Water (Olivier Assayas). Details. 35mm. 1994. 92 min. 8:30 pm.
Weekend Classics at IFC Center
- When Tomorrow Comes (John M. Stahl). Details. 35mm. 1939. 90 min. 11:00 am.
The Great War: A Cinematic Legacy at MoMA
- Captain Conan (Bertrand Tavernier). Details. 1966. 130 min. 2:00 pm.
- War Horse (Steven Spielberg). Details. 2011. 146 min. 2:00 pm.
- Belgium. Details. Work by Sammy lee, Tom Van Avermaet, Raf Reyntjens, and Alfred Machin. 1913-2014. 120 min. 5:00 pm.
Carte Blanche: Christopher Williams at MoMA
- PLAYFULNESS: Ein Bild (Harun Farocki), Chronicle of a Summer (Jean Rouch & Edgar Morin), Le gai savoir (Jean-Luc Godard), Picture and Sound Rushes (Morgan Fisher) and Arnulf Rainer (Peter Kubelka). Details. 1960-1983. 227 min. 5:00 pm.
Also Like Life: The Films of Hou Hsiao-hsien at Museum of the Moving Image
- Good Men, Good Women. Details. New 35mm print. 1995. 108 min. 2:30 pm.
Red Bone Guerrillas (Pierre Bennu) at Spectacle. Details. 2003. 103 min. 7:30 pm.
A Boy and His Dog (L.Q. Jones) at Spectacle. Details. 1975. 91 min. 10:00 pm.
Taxi Driver (Martin Scorsese) at IFC Center. Details. DCP. 1976. 114 min. 11:55 pm.
The Holy Mountain (Alejandro Jodorowsky) at IFC Center. Details. 35mm. 1973. 113 min. 12:00 am.
Harold & Kumar Go to White Castle (Danny Leiner) at IFC Center. Details. 35mm. 2004. 88 min. 12:25 am.
She’s All That (Robert Iscove) at Landmark Sunshine. Details. 1999. 97 min. 12:00 am.
Heavenly Creatures (Peter Jackson) at Nitehawk Cinema. Details. Digital video. 1994. 99 min. 12:10 am.
Las Vegas Lady (Noel Nosseck) at Spectacle. Details. Digital video. 1975. 87 min. 12:00 am.
A Life in Dirty Movies (Wiktor Ericsson) at Anthology Film Archives. Details. Digital video. 2013. 80 min. 7:00 pm.
Rome Open City (Roberto Rossellini) at Film Forum. Details. DCP. 1945. 103 min. 12:45, 3:00, 5:10, 7:30, and 9:45 pm.
The Conformist (Bernardo Bertolucci) at Film Forum. Details. DCP. 1970. 111 min. 2:50 pm.
- Nam June Paik “Becoming Robot” at Asia Society, 725 Park Avenue, Upper East Side. Admission $12 general/$10 seniors/$7 students. Free admission Friday from 6:00 to 9:00 pm. Ends January 4.
- View all exhibitions at Museum of the Moving Image, Astoria, Queens. $12 general/$9 students and seniors/$6 ages 3 to 18. Free admission Friday 4-8 pm. Closed Monday.
- “Here and Elsewhere” at The New Museum, Bowery. $16 general/$14 seniors/$10 students. Pay-what-you-wish Thursdays 7:00 to to 9:00 pm. Closed Monday-Tuesday. Closes September 28.
- M. Lamar “NEGROGOTHIC, A Manifesto” at Participant Inc, 253 East Houston Street. Open Wednesday-Sunday, noon to 7:00 pm. Closes October 12.
- Donna Conlon & Jonathan Harker “Invisible Hands” at Fridman Gallery, 287 Spring Street. Open Tuesday-Saturday, noon to 6:00 pm. Closes October 23.
- “In Waves: Arp + RO/LU + Paul Clipson” at Jack Hanley Gallery, 327 Broome Street. Open Wednesday-Sunday, 11:00 am to 6:00 pm. Closes October 5.
- Adam Shecter “New Year” at Eleven Rivington, 195 Chrystie Street. Open Wednesday-Sunday, noon to 6:00 pm. Closes October 5.
- Frank Heath “Backup” at Simone Subal Gallery, 131 Bowery, Second Floor. Open Wednesday-Sunday, noon to 6:00 pm. Closes October 26.
- Cory Arcangel “tl;dr” at Team Gallery, 47 Wooster Street. Open Wednesday-Sunday, 10:00 am (noon Sunday) to 6:00 pm. Closes October 26.
- Slide Slide Slide at Microscope Gallery, 1329 Willoughby Avenue, Bushwick. Work by Lary 7, Bradley Eros, Sandra Gibson & Luis Recoder, Barbara Hammer, Jeanne Liotta, Bruno Munari, Luther Price, Joel Schlemowitz, and Michael Snow. Open Thursday-Monday, 1:00 to 6:00 pm. Closes October 6.
- Ragnar Kjartansson “A Lot of Sorrow” at Luhring Augustine Bushwick, 25 Knickerbocker Avenue. Open Thursday-Sunday, 11:30 am to 6:00 pm. Closes December 21.