New York. The Metrograph’s series Antonioni x 6 is on from today and, in the Village Voice, Bilge Ebiri focuses on Le amiche (1955), “decidedly not what one would call ‘Antonioni-esque’”; L’avventura (1960), which “as been called alienating, but I’m not sure I agree”; Red Desert (1964), “arguably Antonioni’s masterpiece”; and Zabriskie Point (1970), “an unmitigated disaster when it was first released” which now “feels like a monumental film, one that expertly captures the surreal chaos of America in the 1960s with scenes of revolutionary meetings, police crackdowns, Death Valley orgies, and that sublime, unforgettable climax.”
Starting Friday, and on through August 31, the Metrograph presents a 35 mm print of Eric Rohmer’s Le rayon vert (1986). “The premise—one woman’s attempt to go on summer vacation—is almost laughably banal, something like a satire on the French vacation obsession,” writes J. Hoberman in the New York Times. “Yet the film may be Rohmer’s most mysterious.”
At Screen Slate:
- Dana Reinoos on Felix E. Feist’s “fascinating” Deluge (1933), screening Thursday as part of the Quad’s series Disasterpieces.
- Cosmo Bjorkenheim on Derek Jarman’s Jubilee (1978), “the punkest movie I've ever seen.” Friday and Sunday as part of Future Imperfect: The Uncanny in Science Fiction at MoMA.
- Caroline Golum on Shu Lea Cheang’s “dizzying, PVC-and-LED-clad sci-fi fuckfest” I.K.U. (2000), tonight and Saturday at the Spectacle.
- Ryan Kane on John Huston’s Fat City (1972): “Poignant without an inch of sentimentality.” Today and tomorrow, part of the Anthology Film Archives series Boxing on Film: Part 1.
Tonight, the IFC Center presents Asghar Farhadi’s A Separation (2011), followed by Dariush Mehrjui’s Leila (1997) tomorrow. After each screening, Godfrey Cheshire will moderate a Q&A with the films’ star, Leila Hatami.
Los Angeles. John Carpenter’s The Thing (1982) screens Friday and Saturday at the New Beverly and Garret Mathany talks with Thomas G. Waites, who plays Windows, about “what it was like working on the film that was considered John Carpenter’s ‘shot’ at the big time, what it’s like being associated with a classic film, and how the director stayed true to his nihilistic vision of isolation and paranoia that has influenced such filmmakers as Quentin Tarantino, Guillermo del Toro, Edgar Wright, James Cameron, and the Duffer Brothers to name but a few.”
Japanese Arthouse Classics will be screening at the Aero Theatre from Thursday through Saturday and, writing for the American Cinematheque, Scott Nye focuses on Yasujiro Ozu, whose Tokyo Story (1953) and An Autumn Afternoon (1962) are presented on Saturday.
Austin. The Film Society presents Michael Curtiz’s Mildred Pierce (1945) with Joan Crawford on Thursday. And then on Saturday, Kogonada will be on hand for a presentation of his video essays; his debut feature, Columbus, is on at AFS Cinema through the end of August, starting Thursday.
London. The UK premiere of Martin McDonagh’s Three Billboards Outside Ebbing, Missouri with Frances McDormand, Woody Harrelson, and Sam Rockwell will close this year’s BFI London Film Festival. The sixty-first edition runs from October 4 through October 15.
Berlin. “—Cours, cours, camarade, le vieux monde est derrière toi—Run, comrade, run, the old world is behind you—The Cinema of Med Hondo” is the full title of a program encompassing not only a series of screenings beginning tomorrow at the Arsenal and running through the end of the month, but also an exhibition and workshop.
Lausanne. A Jacques Tourneur retrospective opens tomorrow at the Cinémathèque suisse and runs through September 24.
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