What’s Showing Today? Wednesday, October 22
Click venue names for ticket info & directions
Someone at Spectacle—Williamsburg’s last remaining DIY space—has decided that Speed (1994), the film that, along with Point Break (1991), established Keanu Reeves as a heartthrob (two MTV Movie Awards “Most Desirable Male” nominations), is too slow. What has happened in the intervening twenty years to make Jan de Bont’s adrenaline enema lose some of its potency? Have Keanu’s one-liners lost their bite? Is Bong Joon-ho’s confucian class war fable, Snowpiercer, a sort of Speed for the 21st century, when the point is no longer to bring the runaway public transit vehicle that is industrial civilization to a stop but to speed it up?
Speed is all about infrastructure. Elevators, freeways, and subways are its locations, and controlling these sites is its main preoccupation. The mechanics of the elevator’s brake system have to be mastered to save the lives of the office workers trapped in it; the freeways have to be cleared to make way for a bomb-rigged bus that can’t stop; the gap in the subway map representing track maintenance has to be rendered traversable. The biggest thrill in the movie involve a stretch of freeway that’s under construction. No offense, Keanu, but the real star here is the infrastructures of Los Angeles.
Time – that is to say, measured, linear time – is another of the film’s obsessions. One of Keanu’s most macho moments has him assuring his superior that he only needs “a couple minutes” to pull off the most daring stunt; he is so efficient that he has almost emancipated himself from time. Dennis Hopper, on the on the other hand, sets himself up as a despot of time. He gets his kicks from enforcing and asserting time’s regimented flow, seemingly believing himself to be in charge of it. The anxiety we all feel about each minute slipping away is here personalized and given a face. When Hopper dies, the relief we feel is that of a fullness of the present, a respite from the relentless vigilance of the clock.
A 35mm print of Alberto Fischerman‘s The Players vs Ángeles Caído runs at Anthology Film Archives today. An advertising director who produced radical films in off-hours, Fischerman here spins a surrealist comedy about duelling football teams. Per the description, “associated with the Instituto Di Tella, the center-point of Porteño avant-garde culture at that time, the film stands as a vital document of pop culture, modernism, performance, and rupturist filmmaking.” Guest curator Matías Piñeiro, who has been posted up at Anthology for the duration of the series, introduces. And a quick heads up re: guest curators posted at Anthology and advertising-features crossover: my own AFA series, Industrial Terror, pairing regional horror films with sponsored and educational shorts by the same filmmakers, begins Friday.
And a heads up: one of the Duras features that didn’t show at Spectacle earlier this year in close proximity with Duras’ cenntenial, Les Enfants, closes out FSLC’s own retro at the unfortunate time of 4:30 pm. —Jon Dieringer
- Foreigner (Inés Oliveira Cezar) Details. Digital. 2007. 80 min. 7:00 pm.
- The Players vs Ángeles Caídos (Alberto Fischerman) Details. 35mm. 1969. 84 min. 9:00 pm.
- It Happened One Night. Details. DCP. 1934. 105 min. 12:30 pm.
- You Can’t Take It With You. Details. DCP. 1938. 127 min. 2:50, 5:30 and 8:00 pm.
- Angels with Dirty Faces (Michael Curtiz). Details. 1938. 97 min. 1:30 pm.
The Imagine Science Film Festival at Various Venues
Stations of the Elevated (Manfred Kirchheimer) at BAMcinématek. Details. 35mm. 1981. 75 min. 4:30, 6:15, 8:00, and 10:00 pm.
Hiroshima Mon Amour (Alain Resnais) at Film Forum. Details. DCP. 1959. 90 min. 12:40, 2:45, 4:50, 7:20 and 9:25 pm.
Hiroshima Mon Amour (Alain Resnais) at Film Society of Lincoln Center. Details. DCP. 1959. 90 min. 11:15 am, 1:20 pm, 3:30 pm, 5:40 pm, 7:45 pm, 9:50 pm.
- Nam June Paik “Becoming Robot” at Asia Society, 725 Park Avenue, Upper East Side. Admission $12 general/$10 seniors/$7 students. Free admission Saturday from 5:45 to 7:45 pm. Ends January 4.
- ZERO: Countdown to Tomorrow, 1950s-60s at The Guggenheim Museum. $22 General/$18 Students and Seniors, Free Saturdays after 5:45 pm. Closed Thursday. Closes January 7.
- “Cut to Swipe” at MoMA, Midtown. Work by Dara Birnbaum, Rosetta Brooks, Kevin Beasley, Ken Okiishi, Luther Price, James Richards, Hito Steyerl, and The Otolith Group with Chris Marker. $25 general/$14 students/$18 seniors. Free Fridays 4:00 to 8:00 pm. Closes March 22.
- 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.
- Marcel Dzama “Une Danse des Bouffons (A Jester’s Dance”) at David Zwirner, 525 & 533 West 19 Street. Open Tuesday-Saturday, 10:00 am to 6:00 pm. Closes October 25.
- Cao Fei “La Town” at Lombard Freid, 518 West 19 Street. Open Tuesday-Saturday, 10:00 am to 6:00 pm. Closes October 25.
- Donna Conlon & Jonathan Harker “Invisible Hands” at Fridman Gallery, 287 Spring Street. Open Tuesday-Saturday, noon to 6:00 pm. Closes October 23.
- 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.
- 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.