On Wednesday, the Film Society of Lincoln Center presented the lineup for the Spotlight on Documentary section of this year’s New York Film Festival, following lineup announcements for the Main Slate,Projections,Revivals, and Retrospective programs. Today, the FSLC adds details on the Convergence section, delving “into the world of immersive storytelling via interactive experiences, featuring virtual reality, augmented reality, live labs and demos, and more.”
The image above is from Guy Shelmerdine’s Catatonic, a “pioneering horror experience” that “places you in the POV of a new patient as you are welcomed into a sinister psychiatric hospital.” All Convergence events are free and open to the public from September 29 through October 1. The fifty-fifth edition of the NYFF is on from September 28 through October 15.
Also in New York. “Among Brazil's Cinema Novo filmmakers, Joaquim Pedro de Andrade may be the most difficult to pin down,” writes Jon Dieringer for BOMB. “Unquestionably one of the movement's most celebrated artists, his work nevertheless defies or preempts many trends established by his contemporaries and consecrated by scholars. His concise yet robust filmography—five features, one documentary, and a handful of shorts—is equal parts sobering and playful, bursting with joy yet rife with pessimistic ironies, and, perhaps above all, full of abrupt left turns.”
Today through Thursday, Anthology Film Archives presents The Films of Joaquim Pedro de Andrade and, at Film Slate, Caroline Gil recommends Macunaíma, “a film loosely based on one of the founding texts of the modernism movement in Brazil, a homonymous novel by Mário de Andrade (no relation to Oswald or Joaquim). Actor Milton Gonçalves described Macunaíma as ‘a collection of all that was left unsaid in the history of Brazil,’ and it contains a dizzying abundance of historical and mythological references within a farcical and unrelentingly savage satire.”
Adrian Curry’s new gallery of posters for the Notebook gives us another opportunity to remind New Yorkers that the Museum of the Moving Image is presenting Yuliya Solntseva’s Ukrainian Trilogy tomorrow and Sunday. Poem of an Inland Sea (1958), The Story of the Flaming Years (1961), and The Enchanted Desna (1964) “all approximate [Alexander] Dovzhenko’s style and vision to a degree,” writes Tanner Tafelski for the Calvert Journal. But “Solntseva was more than just an invisible hand supporting her husband’s legacy and work. Dovzhenko may have envisioned them, but it was Solntseva who executed these delirious and delectable pastoral poems.”
Los Angeles. In the LA Weekly,Nathaniel Bell spotlights tomorrow’s midnight screening of John Carpenter’s They Live (1988) at the New Beverly; a John Huston double feature at the Billy Wilder Theater on Sunday, Prizzi’s Honor (1985) and The Dead (1987); and Tuesday’s special screening of Dee Rees’s Pariah (2011), also at the Billy Wilder Theater.
Tomorrow, by the way, Bill L. Norton will be at the Billy Wilder for a presentation of his 1972 film Cisco Pike starring Kris Kristofferson. Floyd Mutrux’s Aloha, Bobby and Rose (1975) follows.
Austin. Starting Monday, the Alamo Drafthouse presents Wild & Crazy: The Films of Steve Martin.
Toronto. Tomorrow night’s TIFF Cinematheque presentation of Nagisa Oshima’s In the Realm of the Senses (1976) has Jason Anderson, writing for the TIFF Review, retracing “the seedy history of the X-rated art-house film.”
London. Light Industry co-founder Ed Halter will be at Close-Up on Wednesday and Thursday to introduce Peter Hutton’s Haikus, a two-part program that “focuses on a cross-section the filmmaker’s intimate and lush portraits of urban, rural and marine environments.”
Vienna. From Wednesday through October 11, the Austrian Film Museum presents Henry Fonda for President. “Whether portraying a desperate outcast or an advocate of a just future, he embodies a critical stance towards old America, thereby allowing those citizens who have nothing to do with the ruling powers to strongly identify with him. The gay black author James Baldwin, for example, imagined him as something like a ‘brother from another planet.’ Baldwin invites us to re-read Fonda’s Tom Joad [in John Ford’s The Grapes of Wrath (1940)] as he disappears into the image at the end of the film: ‘White men don’t walk like that!’”
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