NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
The films of Kijū Yoshida are now playing in a massive retrospective. Read our piece on him here.
Roxy Cinema
A five-film retrospective of Matthew Modine (read my interview here) takes place this weekend, including work by Abel Ferrara, Alan Rudolph, and the man himself.
Museum of the Moving Image
A career-spanning Todd Haynes retrospective begins, with the director present on Friday and Saturday; Robert Altman’s Popeye plays on 35mm this Saturday and Sunday.
Museum of Modern Art
A massive Ennio Morricone retrospective begins, this weekend bringing Sergio Leone’s Dollars trilogy.
Anthology Film Archives
The films of Martin Scorsese’s World Cinema Project are screening, while Joseph Cornell, Tony Conrad, and Bruce Conner programs run in Essential Cinema; a Hollis Frampton retrospective is also underway.
Film Forum
Michael Powell’s career-killing masterwork Peeping Tom plays in a long-overdue restoration,...
Film at Lincoln Center
The films of Kijū Yoshida are now playing in a massive retrospective. Read our piece on him here.
Roxy Cinema
A five-film retrospective of Matthew Modine (read my interview here) takes place this weekend, including work by Abel Ferrara, Alan Rudolph, and the man himself.
Museum of the Moving Image
A career-spanning Todd Haynes retrospective begins, with the director present on Friday and Saturday; Robert Altman’s Popeye plays on 35mm this Saturday and Sunday.
Museum of Modern Art
A massive Ennio Morricone retrospective begins, this weekend bringing Sergio Leone’s Dollars trilogy.
Anthology Film Archives
The films of Martin Scorsese’s World Cinema Project are screening, while Joseph Cornell, Tony Conrad, and Bruce Conner programs run in Essential Cinema; a Hollis Frampton retrospective is also underway.
Film Forum
Michael Powell’s career-killing masterwork Peeping Tom plays in a long-overdue restoration,...
- 12/1/2023
- by Nick Newman
- The Film Stage
Beginning with the thesis statement “does anything really last,” Ian Chaney’s obsessive inquiry The Arc of Oblivion wonders if the act of archiving is really a folly. This leads to exploring natural methods of archiving around us, from limestone layers to synthesizing digital data into DNA. Chaney starts with a problem facing indie filmmakers and obsessive autobiographers: hard drives and digital video fail easily. Although not explored by Chaney, master filmmakers like Martin Scorsese insist on making physical 35mm prints of films they shot digitally and storing them in salt mines rather than on corruptible servers or digital physical media.
A sweeping, often playful odyssey, The Arc of Oblivion seeks out expert help in exploring the nature of archiving, including the gatekeepers who decide what is important to keep record of. Haunted by the spirit of lost footage he filmed one evening while on his parents’ farm––while he...
A sweeping, often playful odyssey, The Arc of Oblivion seeks out expert help in exploring the nature of archiving, including the gatekeepers who decide what is important to keep record of. Haunted by the spirit of lost footage he filmed one evening while on his parents’ farm––while he...
- 3/30/2023
- by John Fink
- The Film Stage
After a hiatus as theaters in New York City and beyond closed their doors during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, there’s a handful of worthwhile repertory screenings taking place.
IFC Center
Solaris screens for its 50th anniversary.
Metrograph
As a retro of melodrama master John M. Stahl gets underway, the six-film retrospective of Miklós Jancsó has its final weekend.
Museum of the Moving Image
Films by Paul Thomas Anderson, Sergei Eisenstein, and Ulrike Ottinger screen for “See It Big: Extravaganzas!“
Museum of Modern Art
“To Save and Project,” one of the most eye-opening series in any given year, has its final weekend as a pre-code series kicks off.
Film Forum
As a new 35mm print of The Conversation continues its run, a collection...
IFC Center
Solaris screens for its 50th anniversary.
Metrograph
As a retro of melodrama master John M. Stahl gets underway, the six-film retrospective of Miklós Jancsó has its final weekend.
Museum of the Moving Image
Films by Paul Thomas Anderson, Sergei Eisenstein, and Ulrike Ottinger screen for “See It Big: Extravaganzas!“
Museum of Modern Art
“To Save and Project,” one of the most eye-opening series in any given year, has its final weekend as a pre-code series kicks off.
Film Forum
As a new 35mm print of The Conversation continues its run, a collection...
- 2/3/2022
- by Nick Newman
- The Film Stage
New York Film Festival organizers have unveiled the slate for its Spotlight section, which includes Dune, C’mon C’mon, Red Rocket and other titles of note.
Spotlight is the venue where the festival’s presenting organization, Film at Lincoln Center, aims to showcase the fall season’s most anticipated films. The festival, which is returning to in-person screenings after a 2020 edition at drive-ins and online, runs September 24 to October 10.
A24 is distributing C’mon C’mon, which stars Joaquin Phoenix and is directed by Mike Mills. The company hasn’t divulged plans for its festival run, but Film at Lincoln Center is listing the film as a New York premiere. That’s a common designation for films debuting at Telluride, which falls a few weeks before NYFF but announces its lineup just prior to its first screenings. Dune is ticketed for Venice ahead of Warner Bros’ theatrical release in October. Sean Baker’s...
Spotlight is the venue where the festival’s presenting organization, Film at Lincoln Center, aims to showcase the fall season’s most anticipated films. The festival, which is returning to in-person screenings after a 2020 edition at drive-ins and online, runs September 24 to October 10.
A24 is distributing C’mon C’mon, which stars Joaquin Phoenix and is directed by Mike Mills. The company hasn’t divulged plans for its festival run, but Film at Lincoln Center is listing the film as a New York premiere. That’s a common designation for films debuting at Telluride, which falls a few weeks before NYFF but announces its lineup just prior to its first screenings. Dune is ticketed for Venice ahead of Warner Bros’ theatrical release in October. Sean Baker’s...
- 8/19/2021
- by Dade Hayes
- Deadline Film + TV
The 59th New York Film Festival continues to expand its lineup, following Main Slate and Revivals announcements. The in-person event, which will take place from September 24 to October 10, has unveiled their Spotlight section, featuring a number of highly anticipated films—including Mike Mills’ Joaquin Phoenix-led C’mon C’mon (pictured above), Sean Baker’s Red Rocket, Wes Anderson’s The French Dispatch, Denis Villeneuve’s Dune, Maggie Gyllenhaal’s The Lost Daughter, Mamoru Hosoda’s Belle, and docs by Charlotte Gainsbourg and Marco Bellocchio.
Equally exciting is their tribute to the centenary of late programmer and festival co-founder Amos Vogel, featuring films from Glauber Rocha, John Huston, and trailblazers of the Czech New Wave; a program from NYFF5 sidebar The Social Cinema in America, featuring Lebert Bethune’s Malcolm X: Struggle for Freedom, Santiago Álvarez’s dispatch from postrevolutionary Cuba, Now, and David Neuman and Ed Pincus’s snapshot of Civil Rights-era Mississippi,...
Equally exciting is their tribute to the centenary of late programmer and festival co-founder Amos Vogel, featuring films from Glauber Rocha, John Huston, and trailblazers of the Czech New Wave; a program from NYFF5 sidebar The Social Cinema in America, featuring Lebert Bethune’s Malcolm X: Struggle for Freedom, Santiago Álvarez’s dispatch from postrevolutionary Cuba, Now, and David Neuman and Ed Pincus’s snapshot of Civil Rights-era Mississippi,...
- 8/19/2021
- by Leonard Pearce
- The Film Stage
For years, I’ve been longing for someone to make a documentary about the Velvet Underground. They are, along with the Beatles and the Stones, one of the three seminal groups in the history of rock ‘n’ roll. So surely they deserve to be captured and memorialized in a film that does them justice.
There’s a reason we’ve never seen that film. Every time I’ve raised the subject with those in the know, the explanation comes down to: “There’s no footage.” What they mean is: There are random bits of footage, and plenty of photographs, but if you want to see the Velvets in their prime performing “What Goes On” or “White Light/White Heat” in a steamy rock club, or get a taste of what it was like to see the Exploding Plastic Inevitable at the Dom in New York City in 1966, or to see...
There’s a reason we’ve never seen that film. Every time I’ve raised the subject with those in the know, the explanation comes down to: “There’s no footage.” What they mean is: There are random bits of footage, and plenty of photographs, but if you want to see the Velvets in their prime performing “What Goes On” or “White Light/White Heat” in a steamy rock club, or get a taste of what it was like to see the Exploding Plastic Inevitable at the Dom in New York City in 1966, or to see...
- 7/7/2021
- by Owen Gleiberman
- Variety Film + TV
Above: Coloured Gel Boxes (2008) by Adam Barker-Mill.Adam Barker-Mill is the only professional cinematographer to have switched careers and become a successful artist instead, and his first major retrospective at the Kunstmuseum Ahlen makes clear the connection. “Obviously it is all about light,” admits the artist, “light is the very essence of cinematography and light is also the main material of my current work.”In fact, Barker-Mill’s career as a cameraman is intriguing in itself, having shot both an Oscar winner and politically radical footage, with some of the most innovative independent British directors of the era, from cinema verité to structuralist experimentation. But in 1985 he gave this all up to concentrate on creating abstract and largely sculptural art works, an ambitious oeuvre now given full rein throughout this German museum. The sheer range of Baker-Mill’s materials and techniques is impressive, whether a permanently installed light-sculpture of concrete...
- 1/22/2020
- MUBI
As far as PG-13 horror films released in January go, Escape Room exceeds expectations despite a fairly sloppy (yet efficient) set-up which traces three of the six players that make their way to an anonymous Chicago dockside warehouse ready to play an immersive game for $10,000 in prizes.
While character development comes in the form of flashbacks that do find a link between the characters, the real star of the film is the elaborate set pieces, which push the psychological intensity right up to the PG-13 limit. Directed by Adam Robitel (Insidious: The Last Key) from a script by Bragi F. Schut and Maria Melnik, Escape Room delivers a few genuine white-knuckle moments. In the film’s best-directed sequence we find an inverted bar where the floor–or ceiling–literally falls out beneath the players; another highlight places our leads in a small room influenced by 1980s video art that inspired...
While character development comes in the form of flashbacks that do find a link between the characters, the real star of the film is the elaborate set pieces, which push the psychological intensity right up to the PG-13 limit. Directed by Adam Robitel (Insidious: The Last Key) from a script by Bragi F. Schut and Maria Melnik, Escape Room delivers a few genuine white-knuckle moments. In the film’s best-directed sequence we find an inverted bar where the floor–or ceiling–literally falls out beneath the players; another highlight places our leads in a small room influenced by 1980s video art that inspired...
- 1/5/2019
- by John Fink
- The Film Stage
The real mystery of This Is Us‘ third season isn’t “Who is ‘her’?” — it’s “How in the world does Randall travel so quickly between Alpine, N.J., and Philadelphia?”
Though the NBC series treats Randall’s commute from his Garden State home to his Pennsylvania campaign grounds like a mere run around the corner, the approximately 110-mile trip actually takes roughly two hours by car. (And that’s one way, with no traffic.)
Since the start of Season 3, Sterling K. Brown’s Randall has made five round-trip drives to the City of Brotherly Love. That’s 20 hours of time on the road,...
Though the NBC series treats Randall’s commute from his Garden State home to his Pennsylvania campaign grounds like a mere run around the corner, the approximately 110-mile trip actually takes roughly two hours by car. (And that’s one way, with no traffic.)
Since the start of Season 3, Sterling K. Brown’s Randall has made five round-trip drives to the City of Brotherly Love. That’s 20 hours of time on the road,...
- 11/7/2018
- TVLine.com
The New York Underground Film Festival that the avant-garde, experimental and degenerate film world is familiar with began in 1994 and lasted until it’s 15th edition in 2008.
However, the Underground Film Journal has recently uncovered that there was a previous New York Underground Film Festival — in 1970! This event is totally unconnected to the ’90-’00s era festival and featured a weeklong series of screenings in mid-October of that year, from October 12 to 19.
The festival was held “upstairs” at the notorious art world hangout spot Max’s Kansas City, located at 213 Park Avenue South. Most nights featured screenings of work by a singular filmmaker; while Saturday, Oct. 17 had a “Matinee” of Shorts” by several filmmakers.
Beyond the list of filmmakers who screened work, there is very little information about the 1970 Nyuff. Most of what the Journal knows about the festival comes from participant Anton Perich, who shared with us the promotional poster that you see above.
However, the Underground Film Journal has recently uncovered that there was a previous New York Underground Film Festival — in 1970! This event is totally unconnected to the ’90-’00s era festival and featured a weeklong series of screenings in mid-October of that year, from October 12 to 19.
The festival was held “upstairs” at the notorious art world hangout spot Max’s Kansas City, located at 213 Park Avenue South. Most nights featured screenings of work by a singular filmmaker; while Saturday, Oct. 17 had a “Matinee” of Shorts” by several filmmakers.
Beyond the list of filmmakers who screened work, there is very little information about the 1970 Nyuff. Most of what the Journal knows about the festival comes from participant Anton Perich, who shared with us the promotional poster that you see above.
- 7/15/2018
- by Mike Everleth
- Underground Film Journal
Film is certainly not dead! The box office may be down due to a steady diet of crap fed by the studio system, but even if Baywatch (the whipping boy for this year’s domestic box office) had been decent, would we have remembered it months later? Hollywood did churn out some good films–the best of which were considered crowd pleasers with a charm all their own; films like Coco and Girls Trip offered big laughs with a lot of heart. Those that took risks, notably Get Out, also found themselves rewarded while too much risk (mother!) proved to turn off casual moviegoers, even if they offered pleasure for those resisting a literal reading of what was on screen.
At the art house (and those multiplexes that offer a screen or two to quality films), it was a virtual embarrassment of cinematic riches, with no shortage of stimulating conversation...
At the art house (and those multiplexes that offer a screen or two to quality films), it was a virtual embarrassment of cinematic riches, with no shortage of stimulating conversation...
- 1/6/2018
- by John Fink
- The Film Stage
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Handmaiden (Park Chan-wook)
The Handmaiden is pure cinema — a tender, moving, utterly believable love story. It’s also a tense, unsettling, erotic masterpiece. There’s a palpable exhilaration that comes from watching this latest film from Park Chan-wook. From its four central performances and twisty script to the cinematography of Chung Chung-hoon and feverish, haunting score by Cho Young-wuk, The Handmaiden is crafted to take your breath away.
The Handmaiden (Park Chan-wook)
The Handmaiden is pure cinema — a tender, moving, utterly believable love story. It’s also a tense, unsettling, erotic masterpiece. There’s a palpable exhilaration that comes from watching this latest film from Park Chan-wook. From its four central performances and twisty script to the cinematography of Chung Chung-hoon and feverish, haunting score by Cho Young-wuk, The Handmaiden is crafted to take your breath away.
- 4/14/2017
- by The Film Stage
- The Film Stage
Mubi is exclusively playing Tyler Hubby's Tony Conrad: Completely in the Present (2016) from April 8 - May 8, 2017 in the United Kingdom and United States.This month Mubi is screening Tyler Hubby’s documentary Tony Conrad: Completely in the Present, which focuses on the life of the musician, filmmaker and teacher who died in April 2016. The release coincides with a series of special memorial events to be held across the U.S., including musical performances. Tyler Hubby spoke to me by Skype about making the film and the many facets of Conrad’s innovative media and community activities, many of which are still being uncovered.Notebook: I was in contact with you last when I wrote a piece for the Notebook, just after Tony Conrad passed away. You helped out with an image for it, which was fantastic.Hubby: Oh good. Yeah, that was a really strange time. I just reread...
- 4/8/2017
- MUBI
Mubi is exclusively playing Tyler Hubby's Tony Conrad: Completely in the Present (2016) from April 8 - May 8, 2017 in the United Kingdom and United States.Tyler Hubby (left) and Tony Conrad (right)I met Tony Conrad in 1994 just as he was re-emerging as a composer and musician. I was recording with my Hi-8 camera when he played one of his first public shows as a violin soloist and have been recording since.Tony was electrifying in how he could always find ways to confront establishment ideas and personal belief systems. Not only was his sabre rattling at the foundations of western culture inspiring, it was also just, and deeply resonated with my ideas of the role of art in society.Over the years as I worked as an editor on films like The Devil and Daniel Johnston, Double Take and The Great Invisible I kept shooting performances and interviews with Tony,...
- 4/8/2017
- MUBI
I can see the comments now. Who the hell is Tony Conrad, and why the hell is there a documentary about him?
In many ways, that’s kind of the point with regards to the existence of the debut film from editor-turned-director Tyler Hubby. Hubby, best known for editing award-winning documentaries like The Devil And Daniel Johnston, jumps behind the camera for a briskly paced and yet lovingly dense look at an artist who has gone far too long unsung among the masses.
Entitled Tony Conrad: Completely In The Present, Hubby’s film takes a look at the life and work of Conrad, who may not be familiar but has surely inspired or been directly involved with some of your favorite musical and avant garde art collectives. An artist in various mediums, Conrad has worked in realms ranging from experimental film to public access television over his expansive 50-plus year career,...
In many ways, that’s kind of the point with regards to the existence of the debut film from editor-turned-director Tyler Hubby. Hubby, best known for editing award-winning documentaries like The Devil And Daniel Johnston, jumps behind the camera for a briskly paced and yet lovingly dense look at an artist who has gone far too long unsung among the masses.
Entitled Tony Conrad: Completely In The Present, Hubby’s film takes a look at the life and work of Conrad, who may not be familiar but has surely inspired or been directly involved with some of your favorite musical and avant garde art collectives. An artist in various mediums, Conrad has worked in realms ranging from experimental film to public access television over his expansive 50-plus year career,...
- 4/7/2017
- by Joshua Brunsting
- CriterionCast
The way John Cale tells it, he had a revelation one day in the mid-Sixties. He’d dedicated the majority of his first two decades to classical and avant-garde music, to such an extent that, he says dryly, “I may have missed out on my puberty.
“I woke up one day and said, ‘Wait a minute, there are people running around singing Beatles songs,'” he recalls. “The Beatles Invasion was going on. All the enjoyment that I’d gotten as a kid out of rock & roll was receding, and I thought,...
“I woke up one day and said, ‘Wait a minute, there are people running around singing Beatles songs,'” he recalls. “The Beatles Invasion was going on. All the enjoyment that I’d gotten as a kid out of rock & roll was receding, and I thought,...
- 3/10/2017
- by Kory Grow
- Rollingstone.com
Tony Conrad was a filmmaker, even if his most famous movie consisted only of solid black frames alternating with solid white ones; he was a musician, though his long, scraping violin solos would sound like feline agony to most listeners. He was an iconoclast whose protests — "Demolish Serious Culture," he once insisted — fell on deaf ears. And he was one of those rare figures who plays a part in or influences artistic careers much more famous than his. Tyler Hubby's documentary Tony Conrad: Completely in the Present, which sets out to make sense of this multidisciplinary artist and largely...
- 12/1/2016
- by John DeFore
- The Hollywood Reporter - Movie News
When Tony Conrad passed away in April of 2016, I knew of him as an experimental filmmaker. It’s hard to be an art student at the University at Buffalo — despite his teaching in Media Studies rather than Fine Art — and not know his name. But that was all I knew: a name, reputation, and the plaudits of countless friends who knew so much more. Only when obituaries started being released in the likes of the New York Times did I realize how renowned a figure he was beyond local heroic status working alongside Paul Sharits and Hollis Frampton in my hometown. Then Rolling Stone posted. Pitchfork, Stereogum, NME, and other music publications quickly followed suit. Suddenly a whole world was opened by his sprawling legacy.
This is where documentarian Tyler Hubby arrives — with a film twenty years in the making that proves perfectly suited for a Conrad novice like myself.
This is where documentarian Tyler Hubby arrives — with a film twenty years in the making that proves perfectly suited for a Conrad novice like myself.
- 10/9/2016
- by Jared Mobarak
- The Film Stage
Chicago – The great benefit of the Chicago Underground Film Festival (Cuff) is the exposure to the layers of outsider art within cinema and other categories. A prime example was the fest’s Opening Night film, “Tony Conrad: Completely in the Present,” directed by Tyler Hubby.
Tony Conrad was an underground artist, in almost a Forrest Gump-like way. He studied math at Harvard in the early 1960s, and was one of the wave of bohemians that took advantage of the crumbling infrastructure of pre-Disneyland New York City, forging art from the ruins of civilization. His contributions to music – he took the tone of a violin to new levels of sonic revelations – and film are still being felt to today, he was one of those prototypical ahead-of-his-time artists. He influenced elements of The Velvet Underground, Andy Warhol, German rock and counterculture film, with an understated presence that was about the work,...
Tony Conrad was an underground artist, in almost a Forrest Gump-like way. He studied math at Harvard in the early 1960s, and was one of the wave of bohemians that took advantage of the crumbling infrastructure of pre-Disneyland New York City, forging art from the ruins of civilization. His contributions to music – he took the tone of a violin to new levels of sonic revelations – and film are still being felt to today, he was one of those prototypical ahead-of-his-time artists. He influenced elements of The Velvet Underground, Andy Warhol, German rock and counterculture film, with an understated presence that was about the work,...
- 6/5/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
In today's roundup on special screenings, we're collecting reviews of Richard Brooks's Looking for Mr. Goodbar, Eiichi Yamamoto's Belladonna of Sadness, King Hu's Dragon Inn, Tony Conrad's The Flicker, David Cronenberg's Dead Ringers and Riley Stearns's Faults. Plus: Celebrating Orson Welles in Los Angeles, talking with Kelly Reichardt in Vienna, Whit Stillman in Liverpool, discussing The Walking Dead in London, and in Gent, Pere Portabella's Informe General and Informe General II. El nuevo rapto de Europa. » - David Hudson...
- 5/5/2016
- Keyframe
In today's roundup on special screenings, we're collecting reviews of Richard Brooks's Looking for Mr. Goodbar, Eiichi Yamamoto's Belladonna of Sadness, King Hu's Dragon Inn, Tony Conrad's The Flicker, David Cronenberg's Dead Ringers and Riley Stearns's Faults. Plus: Celebrating Orson Welles in Los Angeles, talking with Kelly Reichardt in Vienna, Whit Stillman in Liverpool, discussing The Walking Dead in London, and in Gent, Pere Portabella's Informe General and Informe General II. El nuevo rapto de Europa. » - David Hudson...
- 5/5/2016
- Fandor: Keyframe
Tony Conrad, 1983. Photo by Joe Gibbons.Tony Conrad, who passed away on April 9 aged 76, was a vital figure in the fields of both filmmaking and music. His work in each is often characterized by its visceral power, its clear-eyed critique of Western art traditions, its interest in social questions and relations of control, its technical virtuosity and wit.Conrad was an indisputable innovator. His film works, beginning with The Flicker (1966) and continuing through, the Yellow Movies (1973), Film Feedback (1974), the ‘cooked film’ and ‘pickled film’ series, and many others, pushing the medium to its inner and outer limits: exploring the potential of long durations, stroboscopic effects, the physical properties of celluloid, the relation of filmmaker to spectator, the relation of film to other arts and to history. Conrad also created a vast number of video works, reflecting the same incisive energy. Too seldom referred to in contemporary writing about experimental film,...
- 4/19/2016
- by Yusef Sayed
- MUBI
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