Goings On and Festival News

On Film / The Daily — Feb 7, 2018

New York. The Tribeca Film Festival has announced that its seventeenth edition will open on April 18 with the world premiere of Lisa D’Apolito’s Love, Gilda, a portrait of Gilda Radner, who “captivated millions of television viewers as an original cast member of Saturday Night Live from 1975 to 1980.”

Ashley Clark, senior programmer of cinema at the Brooklyn Academy of Music, introduces a new monthly program, Beyond the Canon, presenting “two films back-to-back, in an old-school double-bill format. The second film to screen will be an established, well-known classic, more than likely directed by a white male. It will be preceded by a stylistically or thematically linked film that is directed by a filmmaker from an oft-marginalized group: women, people of color, queer people, and the intersections thereof.” Starts Saturday with Chantal Akerman’s Golden Eighties (1986) and Gene Kelly and Stanley Donan’s Singin’ in the Rain (1952).

Meantime, the BAMcinématek series Fight the Power: Black Superheroes on Film rolls on through February 18. Fanta Sylla for the Village Voice: “Through an eclectic selection of nearly thirty films covering everything from blaxploitation B movies to horror classics to auteur flicks, the program attempts to trace an original history of the Black—and sometimes ‘super’—hero.” In Bernard Rose’s Candyman (1992), Tony Todd plays “one the most simultaneously terrifying and sympathetic horror icons,” writes Jon Dieringer at Screen Slate.

The second part of the Film Society of Lincoln Center’s retrospective Life Is a Dream: The Films of Raúl Ruiz opens Friday and runs through February 18.

Ongoing (see the entries for updates): Martin Scorsese Presents Republic Rediscovered: New Restorations from Paramount Pictures at the Museum of Modern Art through February 15 and Tell Me: Women Filmmakers, Women’s Stories at the Metrograph through Sunday.

Chicago. With the twenty-eighth Festival of Films from Iran on at the Gene Siskel Film Center through March 1, Michael Smith, writing for Time Out, focuses on Abbas Kiarostami’s 24 Frames (2017) and Hossein Khandan’s Waiting for Kiarostami (2017), “based on the true story of how Kiarostami tasked him with finding a suitable actress fluent in both Mandarin and Farsi for a movie to be shot in China that would have been a follow up to Kiarostami’s Japanese-set Like Someone in Love (2012). Waiting for Kiarostami, which resembles Kiarostami’s own hall-of-mirrors masterpiece Close-Up (1991), features extended scenes of Khandan grooming Dorsa Sinaki (a talented newcomer also playing herself) for an audition with Kiarostami that will sadly never materialize.”

Austin. The Austin Film Society has announced that Paul Thomas Anderson and Armie Hammer will be honored at the Texas Film Awards, presented, as always, on the evening before the opening of the SXSW Film Festival, that is, on March 8. Richard Whittaker has more in the Austin Chronicle, where he also reports that David Simon (The Wire, The Deuce) and Ava DuVernay (Queen Sugar, A Wrinkle in Time) will be at the ATX Television Festival (June 7 through 10) to discuss their work.

The Film Society is presenting in the meantime Seijun Suzuki’s Taisho Trilogy: Zigeunerweisen (1980) on Saturday, Kagero-za (1981) on February 17, and Yumeji (1991) on February 24. And on Sunday, the AFS presents a program of films by Stan Brakhage.

Cambridge. On Friday, the Brattle will present a 35 mm print of Kathryn Bigelow’s Strange Days (1995). “Out of the cyber thrillers of ’95, Bigelow’s film remains the most potent and troubling,” writes Justin LaLiberty. Saturday features a 35 mm print of Stanley Kubrick’s A Clockwork Orange (1971) and, in his piece for the theater, Greg Mucci focuses on the soundtrack by Wendy Carlos: “In bringing her own specific flourish to classical composers such as Purcell, Beethoven, and Rozzini, Carlos works at distorting the films use of music in order to manipulate the way in which we engage and interact, ultimately controlling our free will through a marriage of sights and sounds.”

Toronto. Tomorrow, Cinema Scope and TIFF present Hong Sangsoo’s On the Beach at Night Alone (2017) and the magazine’s editor, Mark Peranson, tells the story of how he became part of the cast and crew. He also writes about how Hong goes about conducting a shoot. “He is completely assured that he has found the correct way to interpret and portray reality, and this is one reason why so many viewers believe his films resemble each other so deeply.”

Brussels. The Hong retrospective rolls on at the Cinematek, and Sabzian has posted James Quandt’s essay on The Day He Arrives (2011), “a soju-fueled cross between Last Year at Marienbad and Groundhog Day,” screening tonight.

Vienna. “Wes Anderson and the novelist and designer Juman Malouf have been invited to create an exhibition for Vienna’s Kunsthistorisches Museum,” reports frieze, noting that “the couple will select pieces from the Kunsthistorisches Museum’s extensive collection of musical instruments, armor and weapons, Greco-Roman antiquities, as well as imperial carriages and sleighs from the Wagenburg museum.” The exhibition will be on view from September 11 through January 20, 2019.

Berlin. The full program and schedule for the sixty-eighth Berlin International Film Festival are now set and online. The festival opens on February 15 with Wes Anderson’s Isle of Dogs and runs through February 25. The International Jury is in place, too. Joining president Tom Tykwer will be Cécile de France, Chema Prado, Adele Romanski, Ryuichi Sakamoto, and Stephanie Zacharek.

The festival’s also topped off its Competition lineup with the addition of Erik Poppe’s U – July 22 (Utøya 22. juli). On that day in 2011, Anders Behring Breivik set off a car bomb in Oslo, killing eight and injuring over 200 people. Breivik then began firing into summer camp run by the Workers’ Youth League, killing sixty-eight and wounding over 100.

The Berlinale Special program is also now complete with the addition of Songwriter, Murray Cummings’s documentary portrait of Ed Sheeran.

The Berlinale’s also announced that an Honorary Golden Bear will be presented to Willem Dafoe on February 20 and that Berlinale Cameras will be awarded to Beki Probst, President of the European Film Market, Katriel Schory, Producer and Executive Director of the Israel Film Fund, and Jiří Menzel, the actor and director best known for the Czech New Wave classic, Closely Watched Trains (1966).

And finally for now, the Berlinale Goes Kiez program, taking films from this year’s lineup to cinemas around the city, is also set.

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