Goings On: Maciunas, Martel, and More

On Film / The Daily — Feb 24, 2018

New York. The Film Society of Lincoln Center and the Museum of Modern Art have announced the complete lineup for the forty-seventh New Directors/New Films festival, opening on March 28 with Stephen Loveridge’s Matangi/Maya/M.I.A. and closing on April 8 with RaMell Ross’s Hale County This Morning, This Evening. All together, ND/NF 2018 will present twenty-five features and ten short films.

Starting this weekend, and then on every weekend through March 11, the Museum of the Moving Image is presenting See It Big! Best Cinematography, in Black & White and Color. Ben Kenigsberg in the New York Times: “For years, the Academy gave two cinematography Oscars, one for black-and-white and one for color. This series puts some of the winners head-to-head: The Technicolor Gone With the Wind and the black-and-white Wuthering Heights, which both won in 1940, each screen on Saturday and Sunday. Black Narcissus and Great Expectations, the winners in 1948, show the following weekend.”

“Joshua Bonnetta and J.P. Sniadecki’s El Mar La Mar is a unique film that draws both on Sniadecki’s background at Harvard’s Sensory Ethnography Lab (his previous feature was the excellent documentary The Iron Ministry, shot onboard Chinese trains) and Bonnetta’s expertise in sound design,” writes Steve Erickson, introducing his interview for Studio Daily. El Mar La Mar is screening at MoMA through Thursday and at the Downtown Independent, presented by Acropolis Cinema, in Los Angeles on Tuesday.

“In a history full of -isms and manifesto-spouting collectives, few major entities in the art world are as hard to nail down as Fluxus,” writes John DeFore in the Hollywood Reporter. “After nine years of research, Jeffrey Perkins finds that Fluxus was, above all, George Maciunas—an entrepreneurial Lithuanian emigrant who coined the name near the dawn of the ‘60s and spent the rest of his life decreeing what was and wasn't in Flux. Quite enjoyable even if it leaves viewers hardly feeling they understand the enigmatic man at its heart, George [image above] will play well to lovers of esoteric art.” Through Monday at MoMA.

Ongoing: Film Comment Selects at the Film Society of Lincoln Center through Tuesday and Documentary, Iranian Style: The Films of Mehrdad Oskouei at Anthology Film Archives through Wednesday.

Los Angeles. Filming the Camps: John Ford, Samuel Fuller, George Stevens, from Hollywood to Nuremberg is an exhibition on view at the Los Angeles Museum of the Holocaust through April 30. Dan Schindel for Hyperallergic: “Each director either already was or would go on to become a legend in their own right—Ford for Westerns such as Stagecoach and The Searchers, Stevens for pictures like A Place in the Sun and Giant, Fuller for low-budget, boundary-pushing features like Shock Corridor and The Naked Kiss. But during this period of war, they were acting less as artists than as functionaries of U.S. propaganda and information efforts, working for the U.S. Armed Forces and Secret Services. The contents of the exhibit come from the directors’ own archives, much of it rarely seen before now.”

Kathleen Craughwell writes about more highlights coming up this week for the Los Angeles Times.

Chicago. Jean Cocteau, Seijun Suzuki, Stanley Kubrick, William A. Wellman, Hong Sangsoo, Jiri Menzel, Jean-Pierre Melville, and Mario Monicelli are among the names that pop up in this week’s Cine-List.

Columbus. The other day, we made note of some of the highlights of Cinema Revival: A Festival of Film Restoration, running through Tuesday at the Wexner Center for the Arts.

Toronto. TIFF Cinematheque presents Argentine Genius: The Films of Lucrecia Martel through Tuesday. Filmmaker Lina Rodriguez (This Time Tomorrow): “Lucrecia’s acute attention to the distribution of bodies in space and to the emotional and physical choreographies of the everyday helped me find my own way to use sounds and images to focus on the experience of a middle-class young woman in Bogotá and trace her sensations of moving and interacting in private and public spaces while she negotiated the different expectations of those around her.”

London. Gareth Evans, film curator at the Whitechapel Gallery, will present Ermanno Olmi’s The Legend of the Holy Drinker (1988) on Monday at the London Review Bookshop.

UK. The sixteenth edition of the Borderlines Film Festival is running through March 11, “bringing unmissable film-going experiences to Herefordshire, Shropshire, Malvern, and the Marches,” writes Taryn Joffe for the BFI. “The largest rural film festival in the UK, it brings together a multitude of themed strands, including previews, new world and independent cinema, as well as film classics.” Joffe spotlights ten films “to get excited about.”

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