17 Movies to See This Week: Dolan, Hanoun, Wiseman + More

***MONDAY, JUNE 2***

ELENA, Petra Costa
IFC Center

“Elena, a young Brazilian woman, travels to New York with the same dream as her mother, to become a movie actress. She leaves behind her childhood spent in hiding during the years of the military dictatorship. She also leaves Petra, her seven year old sister. Two decades later, Petra also becomes an actress and goes to New York in search of Elena. She only has a few clues about her: home movies, newspaper clippings, a diary and letters. At any moment Petra hopes to find Elena walking in the streets in a silk blouse. Gradually, the features of the two sisters are confused; we no longer know one from the other. When Petra finally finds Elena in an unexpected place, she has to learn to let her go.”

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CROSSING DELANCEY, Joan Micklin Silver
BAM

“Obvious Child director Gillian Robespierre and star Jenny Slate introduce this Manhattan comedy following the romantic travails of a literary young woman caught between the charming pickle salesman her cantankerous grandmother has thrust upon her and the European novelist she seeks to impress. Speaking on Crossing Delancey, Slate has claimed it as her “favorite movie ever… I saw it as a little girl, and from that moment on, I dreamed of being a certain kind of actress.”

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CELLO, Marcel Hanoun
Anthology Film Archives

“CELLO, his last work, is an unprecedented film: made from death’s point of view, the point of view of the one who has already disappeared as his images are being seen; in sum, a film to be approached from the perspective of a reverse shot, a film from beyond the grave addressed by the author to his usual interlocutors, but now from the other side of the screen; a film addressed to us, the survivors.”

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UN FILM (AUTOPORTRAIT), Marcel Hanoun
Anthology Film Archives

“This later work is one of many Hanoun films that concern the making of a film. Here the story is constructed from photos of Paris and of New York, and from fragments of Hanoun’s previous films, forming a self-portrait of the director.” 

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TITICUT FOLLIES, Frederick Wiseman
MoMA

“This was the first film directed by the master documentarian Frederick Wiseman (b. 1930), who was the subject of a 2010 MoMA retrospective. The film was banned for a quarter-century. Although much shorter than many of his later works, Titicut Follies conforms to the tradition of “direct cinema” that he helped establish, allowing the inmates of Bridgewater State Hospital for the criminally insane to essentially tell their own stories without the intervention of a narrator.”

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OBVIOUS CHILD, Gillin Robespierre
BAM

“Former Saturday Night Live cast member Jenny Slate stars in this bracing comedy about a young Brooklyn stand-up comic forced to navigate the harsh realities of adulthood when she loses her job, gets dumped, and finds herself pregnant. Filled with raw poignancy and hilarity, this Sundance favorite has “a bounce and vitality that is inimitably its own.”

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***TUESDAY, JUNE 3***

THE RENDEZ-VOUS OF DÉJÀ VU, Antonin Peretjatko
FIAF

“A madcap romp through Paris and the French countryside, this debut feature from director Antonin Peretjatko premiered at the 2013 Cannes Film Festival. Using visual gags and absurd scenarios to create mordant social satire, the film successfully updates the early New Wave films for a contemporary audience.”

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WILLOW CREEK, Bobcat Goldthwaite
Museum of the Moving Image

“The comedian Bobcat Goldthwait has come a long way since his memorable performances as cadet officer Zed McGlunk in the Police Academy movies. In addition to his distinctive high-pitched, manic standup comedy, he has established himself as an impressive writer and director for film and television. His latest film, Willow Creek, playfully subverts the found-footage horror genre, and his critically acclaimed feature, The World’s Greatest Dad, is an audacious black comedy that contains one of Robin Williams’s best performances. Goldthwait will talk about his work in a discussion following a special preview screening of his latest film, Willow Creek. The World’s Greatest Dad will be shown after the discussion.”

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THE LORD OF THE RINGS, Ralph Bakshi
BAM

“Bakshi applies his eye-poppingly surreal blend of animation and live-action rotoscoping to this dazzlingly ambitious adaptation of J.R.R. Tolkien’s epic about hobbits and wizards who join forces to battle evil in the Edenic Middle-earth. With unforgettable imagery and an abiding faithfulness to the source material, the original film adaptation of The Lord of the Rings is a fascinating fusion of Tolkien’s vision with Bakshi’s renegade sensibility.”

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SUMMER / L’ÉTÉ, Marcel Hanoun
Anthology Film Archives

“After the May 1968 uprisings in France, Graziella, a young girl of twenty, retires to live alone in a house lost in the Norman countryside. She relives, through a series of transferences and as though in search of catharsis, the ‘revolutionary’ events, measured not as anecdote, but rather through a psycho-dramatic conception of the kind that is permanent and essential.”

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***WEDNESDAY, JUNE 4***

ONLY LOVERS LEFT ALIVE, Jim Jarmusch
BAM

“This gorgeously shot cerebral horror film tells the tale of two fragile and sensitive vampires, Adam (Hiddleston) and Eve (Swinton), who have been lovers for centuries. Both are cultured intellectuals with an all-embracing passion for music, literature, and science—though Eve retains a sense of optimism about the future of civilization while reclusive Adam despairs. Because blood has been tainted by zombies (humans), Adam and Eve must consistently secure uncontaminated blood from hospitals or else they will perish. Their precarious footing is further threatened by the uninvited arrival of Eve’s carefree and uncontrollable little sister Ava (Wasikowska), who has not yet learned to tame her wilder instincts. Driven by sensual photography, trance-like music, and droll humor, Only Lovers Left Alive is a meditation on art, science, memory, and the mysteries of everlasting love.”

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SPRING / LE PRINTEMPS, Marcel Hanoun
Anthology Film Archvies

“SPRING tells two parallel stories: a man, fleeing the forces of order, takes refuge in the forest, while a young girl living with her grandmother in a nearby village approaches the threshold of adolescence, and begins to discover both the world and herself.”

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AUTUMN / L’AUTOMNE, Marcel Hanoun
Anthology Film Archives

“L’AUTOMNE could be schematized by this equation: Screen=camera=author=viewer=film. Julien and Anne, facing US, are working in an editing room. We are the SCREEN of the editing table. As viewers, we are the actual FILM being EDITED (monté) or WATCHED (montré). Consequently we have returned to the genetic state of CAMERA, therefore AUTHOR…”

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***THURSDAY, JUNE 5***

TOM AT THE FARM, Xavier Dolan
MoMA

“Director Dolan, the young Canadian phenomenon behind I Killed My Mother, stars as the title character, a Montreal copywriter who travels to a remote farming community in Northern Quebec to attend the funeral of his lover. When he finds that his companion’s brutish older brother, Francis (Pierre-Yves Cardinal), has kept his sibling’s sexuality a secret from their fragile mother, Tom is initially appalled but is gradually drawn into Francis’s sadomasochistic games.”

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ROUGH CUT, Jamie Shovlin
Nitehawk Cinema

“Rough Cut, the debut feature from artist Jamie Shovlin, explores the re-making of an exploitation film that never was. At its dark heart is Hiker Meat, an archetypal 1970s slasher movie imagined by Shovlin, complete with hitchhiking heroine, charismatic commune leader and a group of teens who disappear one by one. This tantalising film-within-a-film serves to both deconstruct and pay affectionate homage to the often-maligned exploitation style.”

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THOSE HAPPY YEARS, Daniele Luchetti
The Film Society of Lincoln Center

“Luchetti’s warm-hearted, bittersweet autobiographical account of his childhood as a budding filmmaker growing up in Rome in the ’70s stars Kim Rossi Stuart and Micaela Ramazotti as unconventional parents caught up in turbulent times. He’s an avant-garde artist and she’s wrestling with gender roles as she discovers feminism and free love. Luchetti (My Brother Is an Only Child) brilliantly re-creates the atmosphere of urgency and rapid change surrounding the family. He also poignantly conveys his own coming-of-age perspective, that of a boy grappling with radical transformations inside his family and on the street, capturing it all with his brand-new Super-8 camera.”

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L’AUTHENTIQUE PROCES DE CARL EMMANUEL JUNG
Anthology Film Archives

“[This film], the irrefutable cinematic reality, is the imaginary trial of a fake war criminal for crimes whose images we never see, and are only verbalized. Non-synchronous statements, atonal, without passion, describe the immeasurable Nazi crime. Refusal to show that which can’t be seen, yet images and cinematic sounds whose articulation allow the viewer interstices in which to ‘work.’ By showing too much, one proves nothing, undoes nothing, and can only open a fake window on a fictional life. The authentic trial of Carl E. Jung is a metaphoric series of movements about, around Nazism: to set apart the image of Nazism, give it a distance, so as to name it better, show it as something close, familiar, and finally shocking – for we recognize ourselves – we are already there.”

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