Thursday, March 30, 2017
May/June Repertory and Special Events Calendar Announced
Complete Retrospective with Zwigoff In-Person!
Terry Zwigoff never seemed to belong to the careerist, wheeler-dealer world of the Sundance indie, and that’s part of his charm. Catapulted to prominence with Crumb (1995/120 mins/35mm), his instant classic documentary of underground legend R. Crumb, Zwigoff went on to reel out a trio of blackly-comic fiction films which altogether offer a jaundiced, screamingly funny portrait the 21st century America which had paved over the old folk culture he celebrates and cherishes: Ghost World (2001/112 mins/35mm), Bad Santa (2003/91 mins/35mm) and Art School Confidential (2006/102 mins/35mm). Louie Bluie (1985/60 mins/digital) will also screen. Zwigoff will be in NY and appearing in-person for screenings; his Amazon TV pilot, Budding Prospects, just premiered.
Begins May 24
Chanteuse and actress, archetypal Berliner and ardent American antifascist, brooding sex symbol and willful camp icon, a paragon of feminine glamor who was as comfortable in top hat and tails or gorilla suit as in a ballgown—come fall in love again with Marlene Dietrich. In seven collaborations with Josef Von Sternberg (The Blue Angel, Morocco, Blonde Venus, Dishonored, Shanghai Express, The Devil Is A Woman and The Scarlet Empress), one of the great director/actress pairs of the Golden Age of Hollywood, Dietrich was never less than her inimitable, beguiling self, a prismatic personage whose many glittering facets will be on display at Metrograph. In films directed by Alfred Hichcock (Stage Fright), Orson Wells (Touch of Evil), Billy Wilder (A Foreign Affair), Fritz Lang (Rancho Notorious), Frank Borzage (Desire), and Rouben Mamoulian (The Song of Songs), Dietrich was no less iconic. Additional titles include Angel, Destry Rides Again, The Lady is Willing, and Judgement at Nuremburg. R.W. Fassbinder's Lola, inspired by Dietrich, will also screen, as well as Maximilian Schell's Marlene, a documentary about the actress. All 35mm except Marlene.
Begins May 27
Ozu in Color
4 Films in 35mm
Often unfairly tagged as a traditionalist, Yasujirō Ozu was in fact entirely a man of his times—a keen social observer who tracked the tectonic shifts in Japanese life for more than thirty years, and an ardent cinephile who responded readily to changes in film grammar and technology. Both tendencies are on display in this program of his radiant late-career color films, from television-saturation satire Good Morning (1959/94 mins) to the tender study of changing gender roles in Equinox Flower (1958/118 mins). If there is such a thing as cinematic perfection, it looks quite a bit like this. The End of Summer (1961/103 mins) and An Autumn Afternoon (1962/113 mins) will also screen.
Imported from France: Four Masterpieces in 35mm
Beau Travail, The Trial of Joan of Arc, Life of Jesus, and Série noire
Sometimes word is received that a 35mm print, unavailable in the US, will be soon arriving on these shores. Or perhaps there is a film programmers are eager to show, and must import the print. So, apropos of nothing other than not allowing a chance to project these films go by, Metrograph is thrilled to present four masterpieces of French cine: Beau Travail (Claire Denis/1999/92 mins), The Trial of Joan of Arc (Robert Bresson/1962/62 mins), The Life of Jesus (Bruno Dumont/1997/97 mins), and Série noire (Alain Corneau/1979/115 mins).
Robert Bresson Part 2
To follow-up "Bresson x 6" from November, Metrograph will screen four more films from the great director: The Trial of Joan of Arc (1962/65 mins/35mm), Une Femme Douce (1969/88 mins/DCP), Diary of a Country Priest (1951/115 mins/35mm), and Mouchette (1967/78 mins/35mm).
Magnum Photo at 70
Celebrating Masters of the Still and Moving Image from the
Most Prestigious Photo Organization in the World
Founded as a cooperative in Paris in 1947 by an exceptional group whose number included Robert Capa, Maria Eisner, and Henri Cartier-Bresson, to this day Magnum Photos is administered by its members, whose collected work comprises one of the most integral records of life on this planet since the Second World War. Timed to their 70th anniversary, Metrograph is honored to welcome Magnum legends including Martin Parr and Susan Meiselas to present their film work, along with films by Elliott Erwitt and many more.
Throughout May and June
Welcome to Metrograph: S, Part II
This is the eighth installment in a year-long, alphabetically ordered series that offers films the programmers at Metrograph consider must-sees; a pinnacle of a filmmaker’s career or an overlooked, demands-reconsideration masterpiece. Titles include Safe (Todd Haynes, 1995), Sauve qui peut (la vie) (Jean-Luc Godard, 1980), The Set-Up (Robert Wise, 1949), Seven Men from Now (Budd Boetticher, 1956), The Spook Who Sat by the Door (Ivan Dixon, 1973), Smithereens (Susan Seidelman, 1982), Streetwise (Martin Bell, 1984), Sambizanga (Sarah Maldoror), and more! All films in 35mm unless specified otherwise.
Sneak Preview: Azazel Jacobs' The Lovers
Azazel Jacobs' The Lovers is about an affair–but an affair that heats up, unforeseen, between a disenchanted, dreaming-of-divorce couple who are each already having complicated, adulterous affairs with two other people. Starring Debra Winger in her most complex role in years and Tracy Letts in a breakout performance – as the wife and husband two-timing on the lovers they are two-timing with – the film hones in on the comedic, sometimes heart-wrenching, ways that human beings express their need to be loved. Jacobs, one of the most important young American filmmakers working today (Momma's Man, Doll and Em), will appear in-person and The Lovers opens Friday, May 5. An A24 Release.
Ian Buruma Presents The Makioka Sisters
On the occasion of the publication of Junichiro Tanizaki’s The Maids and Devils in Daylight by New Directions, writer and professor Ian Buruma will present Kon Ichikawa's The Makioka Sisters (1985/140 mins/35mm). Among the greatest Japanese films of the 1980s, Ichikawa’s wistful adaptation of Tanizaki’s novel about the four daughters of a prosperous Osaka family in decline, set in the before-the-storm year of 1938.
Steven Soderbergh Presents Suture with Directors Scott McGehee and David Siegel
New Restoration of 90s Indie Classic
Lumped in with the then-contemporary “neo-noir” cycle but actually quite unlike anything else on the scene, directors Scott McGehee and David Siegel’s brain-twisting murder mystery in sordid black-and-white widescreen has Dennis Haysbert as the classic fall guy, stricken with amnesia after his near-identical half-brother (Vincent Towers) swaps their identities and pins a family murder on him—and this is before a plastic surgeon called Renee Descartes (Mel Harris) shows up. A cult item whose advocates include Steven Soderbergh, who will be on hand to present this new restoration with McGehee and Siegel.
Mother's Day Movie Brunch
This Mother's Day, spend the day at Metrograph with two favorites, depending on one's capacity for laughter and tears: Terms of Endearment (James L. Brooks/1983/132 mins) and Freaky Friday (Gary Nelson/1976/98 mins/35mm). A special brunch menu for the Commissary will be available.
Charlie Ahearn Presents Wild Style
New York Hip Hop Classic in 35mm!
Grandmaster Flash, Fab 5 Freddy, the Cold Crush Brothers, Lady Pink, the Rock Steady Crew, Busy Bee—they’re all here and in their prime in the hip-hop movie that started it all, shot semidocumentary style in the Boogie Down Bronx, following the exploits of Zoro (Quiñones), an intrepid graffiti artist who attracts the attention of an East Village art collector. Timed to his exhibition at PPOW opening May 11, director Charlie Ahearn will appear in-person.
Steve De Jarnatt Presents Miracle Mile
End of the World Cult Classic
Jazz musician Anthony Edwards is walking on clouds, coming off a successful first date with waitress Mare Winningham, when a voice on the other end of a ringing pay phone informs him that the U.S. has just entered into nuclear war and The End is Nigh. What follows is a frantic real-time scramble up and down Wilshire Boulevard, in hopes of making the most of what may be the last night on earth. Director Steve De Jarnatt will appear-in person.
Making Rent in Bed-Stuy with Brandon Harris
On the occasion of the release of critic, professor, curator and filmmaker Brandon Harris’s first book, Making Rent in Bed-Stuy: A Memoir of Trying to Making it in New York City, Metrograph will present six films that speak to the neighborhood and the surrounding area’s rich cultural and political legacy as a black space, the lives of some of its most famous scions and as a bulwark, increasingly imperiled, for Brooklyn’s black population. Titles include Crooklyn, Nasty Baby, Bed-Stuy: Do or Die, Jay Z: Fade to Black, Shirley Chisolm: Unbossed and Unbought, Joe's Bed-Stuy Barbershop: We Cut Heads, and Making Do the Right Thing. Harris will appear in-person on opening night.
Say thanks for all the movies he took you to, with these two Dad-favorites: belly laughs with Hold that Ghost (Arthur Lubin/1941/85 mins/35mm) or punching Nazis with Raiders of the Lost Ark (Steven Spielberg/1981/115 mins/35mm). A special menu will be available at the Commissary, announced soon, which may or may not include some junk food.