World of Tomorrow Episode Two: The Burden of Other People’s Thoughts is headed to Dallas, Austin, New York, San Francisco, and Los Angeles. Don Hertzfeldt’s tweeted dates and links.
New York. Aleksandr Sokurov’s Days of Eclipse (1988), “like Stalker, brews slowly and strangely, and makes the world we occupy as alien to us as a Hollywood film stage of Mars,” writes Jeva Lange. Screens tonight as part of The Strugatsky Brothers on Film, the series running at Anthology Film Archives through tomorrow.
Also at Screen Slate:
- Ryan Kane on Peter Lorre’s The Lost One (1951), “showcasing the expressionist aesthetic that brought him to stardom and the mastery of his onscreen persona.” Wednesday and Thursday as part of the Film Society of Lincoln Center series The Lost Years of German Cinema: 1949–1963.
- Patrick Dahl on Hans H. König’s Roses Bloom on the Moorland (1952), “one of the more intriguing films of the Heimatfilm cycle that dominated West Germany after the war until the insurgent New German Cinema foresook ‘papa’s cinema’ in the sixties.” Also Wednesday and Thursday at the FSLC.
- Dana Reinoos: “Sisters, or the Balance of Happiness  belongs in the heady canon of films about women’s complex inner lives that get intertwined with one another, alongside 3 Women and the films of Ingmar Bergman.” Saturday and November 29 as part of Margarethe von Trotta's Sisters Films at Spectacle.
Los Angeles. For the New Beverly, Kim Morgan writes about John Farrow’s His Kind of Woman (1951) with Robert Mitchum, Jane Russell, and Vincent Price, screening tomorrow and Wednesday, and about William Wyler’s The Best Years of Our Lives (1946), screening Wednesday. And Robert Wise and Jerome Robbins’s West Side Story (1961), “one of the best of all movie musicals” (Witney Seibold), screens on Saturday.
Chicago. The new Cine-List covers highlights of the calendar all the way through November 30.
Cambridge. Joe Dante’s “Suburbia Horror almost always positions families, rather than a sole individual, as victim or perpetrator, at the center of the terror,” writes Justin LaLiberty. “At the center of The ‘Burbs ,” screening Friday at the Brattle, “is a family . . . or two.” And the Brattle presents Tom Hanks’s directorial debut, That Thing You Do! (1996), on Sunday. Chelsea Spear: “The film’s eventual status as a cult classic mirrors Fountains of Wayne’s rise to fame, which took almost a decade.”
London. On Thursday, Pat O'Neill will present the UK premiere of his new feature, Where the Chocolate Mountains, at the Tate Modern. And then on Saturday, he’ll be at Close-Up with Horizontal Boundaries (2005), Painter and Ball (2011), and Trouble in the Image (1996).
“Venture into London’s West End at the moment and you’ll be greeted by a slew of screen-to-stage adaptations, from Mel Brooks’s Young Frankenstein to Julian Jarrold’s Kinky Boots,” writes Hannah Woodhead for Little White Lies. “The latest film to make the transition is Sidney Lumet’s 1976 television satire Network, reimagined at the National Theatre with Bryan Cranston taking on the now-iconic role of disillusioned broadcaster Howard Beale.” And “it does indeed feel timely in the wake of political unrest and omnipresent fake news.”
“How are we, late in 2017, to solve a problem like Marnie?” asks Zachary Woolfe in the New York Times. “The story—a traumatized girl grows into a sexually frigid, kleptomaniac, compulsively identity-shifting young woman, saved by psychoanalysis and the patient love of a wealthy man—has been told in Winston Graham’s 1961 novel, Alfred Hitchcock’s 1964 film and now Nico Muhly’s new opera, which had its premiere at English National Opera here on Saturday. . . . Fascinating and repellent, the tale gets no easier to take with time.”
Paris. Centre Pompidou presents Rétrospectives Harun Farocki - Christian Petzold from Thursday through January 14.
From Wednesday through November 27, the Cinémathèque française will present rare, restored, and unfinished works by Jean Rouch.
Vienna. From Thursday through November 27, the Austrian Film Museum is presenting a series inspired by Alexandra Seibel’s new book, Visions of Vienna. Narrating the City in 1920s and 1930s Cinema, which “shows how the allegedly nostalgic, romantic Vienna is tied to crucial issues of modernity: migration, class relations, changes in working conditions, feminism and anti-Semitism.”
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