This is going to be an eventful week, and we can look forward to separate entries (New Directors/New Films, for example, opens on Wednesday) and more special screenings over the coming days. Let’s get started.
New York. Screen Slate presents a guest post from MoMA Associate Media Conservator Peter Oleksik, who’ll be hosting An Evening of Computer Films with Ken Knowlton, “an instrumental figure in early computer animation,” tonight.
And regular Screen Slate contributor Cosmo Bjorkenheim writes about Jean-Pierre Bekolo’s “Cameroonian genre-bender” Naked Reality (2016), 150 years in the future and screening tomorrow at Spectacle: “If Naked Reality favors mood over narrative, that is one of its strong points.”
Also: “Charismatic, urbane, and handy with high-tech gadgets, Diabolik was a cross-pollination between Batman, Fantomas, and James Bond. His popularity was such that, in 1967, legendary producer Dino De Laurentiis gave infamous giallo director Mario Bava 1.5 billion lire to make a movie adaptation. The result was Danger! Diabolik [image above] starring John Phillip Law as the slick supercrook and Marisa Mell as his fetching partner, Eva Kant. . . . Diabolik is nigh-matched only by the indefatigable Inspector Ginko, played by the hardest-working man in French show business, Michel Piccoli.” Tomorrow at Film Forum.
On the Wrong Reel (29’03”), James Hancock and Adam Rackoff talk with animator Bill Plympton about “his latest projects including his collaboration with musician Jackie Greene, a series of music videos called The Modern Lives making its premiere at the SVA Theatre” on Wednesday. Plympton also talks a bit about the feature he’s currently working on, Slide.
Los Angeles. Rick Prelinger will be at the Billy Wilder Theater on Saturday to present Lost Landscapes of New York, which “mixes home movies by New Yorkers, tourists and semi-professional cinematographers with outtakes from feature films and background ‘process plates’ picturing granular details of New York’s cityscape. . . . Viewers will be invited to comment, to ask questions and to interact with one another as the screening unfolds.”
Chicago. Cine-List has you covered through Thursday.
Baltimore. John Waters: Indecent Exposure, an exhibition at the Baltimore Museum of Art on view from October 7 through January 6, 2019, “will feature more than 160 works, including photographs, sculptures, and video and sound pieces,” reports Peter Libbey for the New York Times.
San Francisco. For the Chronicle, Pam Grady reports on the lineup of this year’s San Francisco Silent Film Festival, running from May 30 through June 3. There’ll be a new “a new 200-minute restoration” of Mauritz Stiller’s The Gösta Berling Saga (1924) with Greta Garbo, and a screening of Paul Leni’s The Man Who Laughs (1928) will occasion “a world premiere score by the Berklee Silent Film Orchestra. . . . There will be eleven restored films in all, ten making North American premieres. These include restorations that the festival has undertaken itself, including recently discovered 1906 earthquake footage that the organization is restoring in collaboration with the Niles Film Museum; Soviet drama Fragment of an Empire (1929); Soft Shoes, a 1925 actioner; and a courtroom drama, The Other Woman’s Story (1925).”
Cambridge. On Wednesday, the Harvard Art Museums will present Productive Disorder: Music, Film, and Art in Postwar Germany, a program of presentations and discussions in conjunction with Inventur—Art in Germany, 1943–55, an exhibition on view through June 3.
Austin. Forbidden Colors: The Transgressions of Nagisa Ôshima opens on Friday at the AFS Cinema and runs through April 22.
London. The Essay Film Festival rolls on through Thursday, featuring work by Pierre Creton, Vivienne Dick, Barbara McCullough, Thomas Elsaesser, João Moreira Salles, and Johann Lurf.
Close-Up presents František Vláčil’s Marketa Lazarová (1966) tomorrow.
“In Keicheyuhea (2017), one of two films that form All That You See Here, Forget, Aslan Gaisumov’s first exhibition at Emalin, curated by Anna Smolak, the artist follows his grandmother as she returns for the first time in seventy-three years to the titular settlement in the Caucasus mountains that used to be her family's home,” writes Anya Harrison for frieze. “That is until the winter of 1944, when the entire Chechen and Ingush nations, some half a million people, were deported to Central Asia, accused by the Soviet state of collusion with Nazi Germany—a fact that is known but little discussed in official historical narratives.” Through April 28.
Edinburgh. The lineup for this year’s Edinburgh Art Festival, on from July 26 through August 26, is set. The Guardian’s Dale Berning Sawa calls it “bold and expansive. It also confirms that 2018 belongs to Tacita Dean, with a major performance focused solo show at Fruitmarket Gallery following hot on the heels of her tripartite museum coup in London.”
Cannes. “The Cannes Film Festival’s decision to scrap morning press screenings ahead of gala premieres has received a chilly reception from the guild of French film critics (Syndicat Français de la Critique de Cinema),” reports Variety’s Elsa Keslassy. “In a letter issued Monday, the guild said that festival chief Thierry Fremaux should have explored other solutions to cater to filmmakers’ sensibilities during their gala premieres—for instance, imposing timed embargoes on reviews.” But artistic director Thierry Frémaux is standing his ground: “I belong to the generation that respects the press and doesn’t think a tweet is the same thing as a serious article published by a critic.”
Berlin. Time and memory: The cinema of Terence Davies opens on Thursday at the Arsenal and runs through April 9.
Mumbai. Tacita Dean and Christopher Nolan “will join Shivendra Singh Dungarpur to stage the fourth incarnation of Reframing the Future of Film” on Friday, Saturday, and Sunday.
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