“Cinema of Resistance,” the dense, varied and timely series organized by Dennis Lim and co-programmed with filmmaker John Gianvito for the Film Society of Lincoln Center (as the opposite of light, summer fare) concludes August 29 with a program, titled “Occupy Wall Street and Beyond” that puts the events at Zuccotti Park two years ago and even the symbolic role of the West Side culture complex in a wider historical context.
MOVIE JOURNAL: J. Hoberman on movies and movie-related things
Archive for the ‘Event’ Category
OK to plug my own show? If so, read on. “Fun City,” the series I programmed at the Museum of the Moving Image, includes 17 Hollywood features and one documentary shot on the streets and sidewalks of New York from 1966 through 1973—with one more feature, filmed in 1974, that recreates a bizarre event from the summer of ‘72.
Some splendid counter-programming at the BAMcinématek starts Saturday, December 15, when Joe Dante’s Yuletide desecration “Gremlins” kicks off a seven-film series of downbeat or perverse Christmas movies. The only remotely feel-good movie in the bunch, Vincente Minelli’s “Meet Me in St. Louis”, showing Sunday, is notable for introducing the mournful standard, “Have Yourself a Merry Little Christmas” (a song used to even more depressing ends in Carl Foreman’s “The Victors”).
In one of the lengthiest sessions I’ve sat through since joining the New York Film Critics Circle in 1981, the group took over five hours to decide upon its 12 annual awards, with Kathryn Bigelow’s “Zero Dark Thirty” and Steven Spielberg’s “Lincoln” — serious pictures, both filled with topical resonance — emerging as the two big winners.
If there is any single personality who embodies the “genius of the system” (or kept the “whole equation” of movies in his head) it would be Ernst Lubitsch, the German-Jewish-American producer-director whose career spanned the Golden Age of the Motion Picture. Lubitsch made two-reel slapstick comedies, discovered the silent star Pola Negri, made rampantly exotic costume epics in Berlin, then came to Hollywood where he would serve as production chief at Paramount and set the standard for Hollywood sophistication.
A sensation in Sundance, Cannes, and points in between, “Beasts of the Southern Wild” is set to explode on the nation’s screens this week. My only concern is that Benh Zeitlin’s exuberantly ramshackle exercise in gumbo magic realism may have been a bit oversold.
Better late than never: The ultimate bad break-up movie, and the sleeper of the 1972 New York Film Festival that closed with the tumultuous world premiere of “Last Tango in Paris,” “We Won’t Grow Old Together,” Maurice Pialat’s cinematic “No Exit,” gets its first American run this Friday at BAM.