• [The Daily] Goings On: Tribeca, Light Industry, and More

    By David Hudson


    New York. The seventeenth Tribeca Film Festival, running from April 18 through 29, “will celebrate the anniversaries of Brian De Palma’s Scarface, Steven Spielberg’s Schindler’s List, and Alexandre Rockwell’s In the Soup, bringing three cinematic treasures back to the big screen”—and the casts to New York. Meantime, “filmmakers participating in the Tribeca Talks: Directors Series include Lesli Linka Glatter, Nancy Meyers, Laura Poitras, Alexander Payne, and Jason Reitman. Tribeca Talks: Storytellers, which spotlights creators who work across mediums, will feature multitalented entertainers like Alec Baldwin, Edward Burns, Bradley Cooper, Jamie Foxx, Spike Lee, and John Legend. This year also marks the debut of Tribeca Talks: The Journey, which will feature an in-depth conversation with Sarah Jessica Parker about her career path across multiple sections of the industry.”

    The Light Industry Benefit Art Auction is happening on Saturday at Bridget Donahue, and bidding is now live at Artsy. Among the many artists who’ve donated works are Pedro Costa, Kevin Jerome Everson, Mike Kuchar, Laida Lertxundi, Yvonne Rainer, Ed Ruscha, and Lawrence Weiner.

    Los Angeles. Jorge Thielen Armand’s La soledad (2016) “poetically depicts Venezuela’s socio-economic crisis,” and Acropolis Cinema is presenting it tonight at the Downtown Independent.

    Cambridge. From Saturday through April 14, the Harvard Film Archive will present The Moral Tales of Hong Sangsoo. “Hong’s recent films have doubled his oeuvre and deepened the restless formal and philosophical introspection that has anchored his cinema from its earliest years,” writes Haden Guest.

    Montclair, New Jersey. “Alejandro Jodorowsky is most famous nowadays for El Topo and The Holy Mountain, a pair of mind-melding, mystico-absurdist westerns that lit up midnight screenings worldwide in the early 1970s,” writes Elizabeth Vincentelli for the New York Times. “Mr. Jodorowsky is a singular character, to say the least, but a few years before making those films, in the mid-1960s, he more than met his match in Leonora Carrington, a painter, sculptor and writer who had hobnobbed with the likes of Max Ernst. Their first encounter kicks off the Double Edge company’s trippy show Leonora and Alejandro: La Maga y el Maestro, part of Montclair State University’s Peak Performances series.” Through Sunday.

    Austin. On Saturday, the Film Society will present a 35 mm print, straight from the Cineteca di Bologna, of Bernardo Bertolucci’s Before the Revolution (1965).

    London. Akira Kurosawa’s Ran (1985) screens at the Close-Up Film Centre on Saturday.

    Cannes. It’s that time of year again. Weeks ahead of the official announcement on April 12, speculation has begun to heat up with regard to which films will make the lineup of the seventy-first Cannes Film Festival, running from May 8 through 18. If you’re so inclined, scan the lists of potential candidates put together at IndieWire, Movie On, Screen, and Variety. Meantime, the Semaine de la Critique (Critics’ Week) has the poster for its fifty-seventh edition (May 9 through 17) and L’Acid has relaunched its site.

    Berlin. Tomorrow, Wolf presents Ross Lipman: Persistence of Revision, “an evening of archival cinema and short films,” with the renowned filmmaker, archivist, and essayist “discussing the art of moving image restoration as well as new works that grow organically from the ruins of history. Examples are provided from his many restorations as well as his own acclaimed films, presented in the context of his unique perspective on restoration practice; a field he calls ‘The Gray Zone.’”

    Amsterdam. Ahead of the exhibition at EYE Filmmuseum dedicated to the three winners—so far—of the EYE Art & Film Prize opening on Saturday and on view through May 27, frieze has posted En Liang Khong’s piece on one of them, Wang Bing (the other two are Hito Steyerl and Ben Rivers). “Wang’s permanent presence on the international film festival circuit . . . separates his films from the activist-led, investigatory strains of Chinese documentary making. . . . But what if we move out from the granular detail of each of Wang’s films to its macro-landscape, from the country’s disillusioned north-east to its impoverished south-west and across historical time in the process? We begin to see, the film scholar Elena Pollacchi argues, a ‘cinematic journey’ that traces a sharp counter-geography to the ‘China dream.’”

    Sydney. Cinema ’68, showcasing “the singular visions of post-revolutionary Cuban cinema, Japanese nūberu bāgu, the Italian spaghetti western, and more,” is on at the Art Gallery of New South Wales through May 6.

    For news and items of interest throughout the day, every day, follow @CriterionDaily.


  • By Sean Ramsdell
    March 20, 2018
    07:35 PM

    Let's not argue over Schindler's List and Shoah since each tackled the same subject matter (Holocaust) in respectable ways
    • By thevoid99
      March 21, 2018
      08:10 PM

      Agreed even though I haven't seen the latter.
  • By Sean Ramsdell
    March 22, 2018
    01:02 PM

    Even if you did, it wouldn't make a difference