NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
The Headless Woman and Sun Ra: A Joyful Noise screen on Friday; prints of Pee-Wee’s Big Adventure, I’m Still Here, Cool Runnings: The Reggae Movie, Girl 6, and Dick Tracy play.
Anthology Film Archives
“Shopping Worlds” is a cinematic exploration of malls, offering the likes of Jackie Brown, Nocturama, and Akerman’s Golden Eighties; works by Michael Snow and von Stroheim play in Essential Cinema.
Museum of Modern Art
“Views from the Vault” closes with films by Sofia Coppola, Jia Zhangke, and more.
Museum of the Moving Image
Malcolm X, Nope, Inception, and 2001 play on 70mm in a new series; Barbershop screens on Saturday.
Film Forum
Contempt and Thelma & Louise continue screening, while the Tarantino-presented Winter Kills play on 35mm.
Bam
A restoration of the recently rediscovered Tokyo Pop continues.
IFC Center
Sucker Punch, Brüno,...
Roxy Cinema
The Headless Woman and Sun Ra: A Joyful Noise screen on Friday; prints of Pee-Wee’s Big Adventure, I’m Still Here, Cool Runnings: The Reggae Movie, Girl 6, and Dick Tracy play.
Anthology Film Archives
“Shopping Worlds” is a cinematic exploration of malls, offering the likes of Jackie Brown, Nocturama, and Akerman’s Golden Eighties; works by Michael Snow and von Stroheim play in Essential Cinema.
Museum of Modern Art
“Views from the Vault” closes with films by Sofia Coppola, Jia Zhangke, and more.
Museum of the Moving Image
Malcolm X, Nope, Inception, and 2001 play on 70mm in a new series; Barbershop screens on Saturday.
Film Forum
Contempt and Thelma & Louise continue screening, while the Tarantino-presented Winter Kills play on 35mm.
Bam
A restoration of the recently rediscovered Tokyo Pop continues.
IFC Center
Sucker Punch, Brüno,...
- 8/11/2023
- by Nick Newman
- The Film Stage
Martine Marignac, the French producer who worked with a myriad of iconic directors including Jacques Rivette, Jean-Luc Godard and Leos Carax, has died in France at the age of 75.
Born in 1946, Marignac broke into cinema in the 1970s as a press attaché, working for seven years alongside Simon Mizrahi, the cinephile and publicist who witnessed the birth of the New Wave and then helped put its directors on the map.
Marignac moved into production in the early 1980s with the creation of the film collective La Cecilia. She took inspiration for the collective’s name from the Cecilia Colony in Brazil founded by a group of Italian anarchists in the late 19th Century.
Under this banner, she began her long-time working relationship with Rivette, taking credits on his 1981 film Pont De Nord. Other credits during this period included Godard’s Passion, Jean-Louis Comolli’s Balles Perdues and Chantal Akerman’s Golden Eighties.
Born in 1946, Marignac broke into cinema in the 1970s as a press attaché, working for seven years alongside Simon Mizrahi, the cinephile and publicist who witnessed the birth of the New Wave and then helped put its directors on the map.
Marignac moved into production in the early 1980s with the creation of the film collective La Cecilia. She took inspiration for the collective’s name from the Cecilia Colony in Brazil founded by a group of Italian anarchists in the late 19th Century.
Under this banner, she began her long-time working relationship with Rivette, taking credits on his 1981 film Pont De Nord. Other credits during this period included Godard’s Passion, Jean-Louis Comolli’s Balles Perdues and Chantal Akerman’s Golden Eighties.
- 7/18/2022
- by Melanie Goodfellow
- Deadline Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Ad Astra (James Gray)
A testament to the immaculate scope that can be realized when a director with a specific vision is given the resources to convey it, Ad Astra is a masterclass in detail. In this Brad Pitt-led story of a space odyssey, one gets the sense that every miniscule touch was carefully considered, culminating in the most purely pleasurable time I had at a theater last year (a feeling invigorated by one of the biggest IMAX screens in the world). The nearly indescribable sensations Gray is able to conjure by going for more subdued grace notes make the awe-inspiring moments all the more sublime.
Ad Astra (James Gray)
A testament to the immaculate scope that can be realized when a director with a specific vision is given the resources to convey it, Ad Astra is a masterclass in detail. In this Brad Pitt-led story of a space odyssey, one gets the sense that every miniscule touch was carefully considered, culminating in the most purely pleasurable time I had at a theater last year (a feeling invigorated by one of the biggest IMAX screens in the world). The nearly indescribable sensations Gray is able to conjure by going for more subdued grace notes make the awe-inspiring moments all the more sublime.
- 6/12/2020
- by Jordan Raup
- The Film Stage
Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.Jean-Luc Godard is a difficult filmmaker to pin down because while his thematic concerns as an artist have remained more or less consistent over the last seven decades, his form is ever-shifting. His filmography is impossible to view in a vacuum, as his work strives to reflect on the constantly evolving cinema culture that surrounds it: Godard always works with the newest filmmaking technologies available, and his films have become increasingly abstracted and opaque as the wider culture of moving images has become increasingly fragmented. Rather than working to maintain an illusion of diegetic truth, Godard’s work as always foreground its status as a manufactured product—of technology, of an industry, of on-set conditions and of an individual’s imagination. Mubi’S Godard retrospective exemplifies the depth and range of Godard’s career as...
- 11/19/2017
- MUBI
The twenty first entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Chantal Akerman's Tomorrow We Move (2004) from March 8 - April 7, 2017 in most countries around the world. Tomorrow We Move (2004) is Chantal Akerman’s most underrated film. A recent, ambiguous “tribute” to the director in Cineaste magazine dismissed most of her work in fiction filmmaking beyond the 1970s, and was especially down on those fictions involving music, comedy, love, passion, and obsession. So, into the bin go Night and Day (unmentioned in the article), Golden Eighties (“dated and silly”), La Captive (“elephantine, imitative, and strangely fake”), and Almayer’s Folly (sunk by that “terrible French actor Stanislas Merhar”). And Tomorrow we Move? It and A Couch in New York (1996) are merely “exercises that Akerman had to get out of her system.”There is frequently an element of self-portraiture in Akerman’s work,...
- 3/8/2017
- MUBI
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
BAMcinématek
“Chantal Akerman: Images Between the Images” continues with Night and Day on Friday, News from Home this Saturday, and, on Sunday, Golden Eighties and The Meetings of Anna.
Metrograph
“Welcome to Metrograph: A to Z” offers The Eight-Diagram Pole Fighter on Friday, Deux Fois on Saturday, and, this Sunday, three short films by Julie Dash.
BAMcinématek
“Chantal Akerman: Images Between the Images” continues with Night and Day on Friday, News from Home this Saturday, and, on Sunday, Golden Eighties and The Meetings of Anna.
Metrograph
“Welcome to Metrograph: A to Z” offers The Eight-Diagram Pole Fighter on Friday, Deux Fois on Saturday, and, this Sunday, three short films by Julie Dash.
- 4/15/2016
- by Nick Newman
- The Film Stage
Read More: Magnolia Pictures Acquires Terence Davies' Tiff Beauty 'Sunset Song' The Film Society of Lincoln Center has announced the 16th edition of the Film Comment Selects program, an eclectic group of films both current and classic. This year's program will open with the New York premiere of Terence Davies' "Sunset Song" on February 17, a romantic tale set on a Scottish farm on the cusp of World War II. It will end on February 24 with a screening of "Golden Eighties" in tribute to Chantal Akerman, who collaborated with an unusual group of individuals, including former "Cahiers du Cinema" critic Pascal Bonitzer and "Desperately Seeking Susan" screenwriter Leora Barish, for the film. Some other highlights are a two-film spotlight on Charles Bronson, with screenings of "Breakout" (1974) and "Rider on the Rain" (1969), and four films from Andrzej Żuławski, including the U.S. Premiere of his latest film...
- 12/21/2015
- by Wil Barlow
- Indiewire
The ninth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.***It is something of a pity that, due to the sterling work of Criterion and the Belgian Cinematek, Chantal Akerman (1950-2015) is today best known and celebrated chiefly for her widely accessible string of 1970s masterpieces—Je tu il elle (1974), Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975), News from Home (1976), and Les Rendez-vous d’Anna (1978)—to the exclusion of anything much else that followed in the subsequent 35 years of her career. Many recent tributes to her memory and legacy hardly mention this total body of work or, if so, only cursorily. Yet Akerman’s level of achievement and inventiveness never flagged. Just taking her fiction feature film output alone, her later trajectory is marked by four towering masterpieces roughly a decade apart: Toute une nuit (1982), Nuit et jour (1991), La captive (1999), and Almayer’s Folly...
- 10/28/2015
- by Cristina Álvarez López & Adrian Martin
- MUBI
From Catherine Grant comes word that Libération is reporting that Chantal Akerman has passed away at the age of 65. Akerman, who made an indelible mark on cinema with Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975), followed up with such significant works as News from Home (1977), Golden Eighties (1986), From the East (1983) and La Captive (2000). Her most recent film, No Home Movie, premiered in Locarno and will screen tomorrow and Thursday at the New York Film Festival. We're collecting tributes and remembrances. » - David Hudson...
- 10/6/2015
- Keyframe
From Catherine Grant comes word that Libération is reporting that Chantal Akerman has passed away at the age of 65. Akerman, who made an indelible mark on cinema with Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975), followed up with such significant works as News from Home (1977), Golden Eighties (1986), From the East (1983) and La Captive (2000). Her most recent film, No Home Movie, premiered in Locarno and will screen tomorrow and Thursday at the New York Film Festival. We're collecting tributes and remembrances. » - David Hudson...
- 10/6/2015
- Fandor: Keyframe
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson...
- 6/9/2015
- Fandor: Keyframe
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson...
- 6/9/2015
- Keyframe
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2014?
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
- 1/5/2015
- by Notebook
- MUBI
Rome -- The Locarno Film Festival announced Tuesday that it will present this year's Raimondo Rezzonico prize for best independent producer to France's Martine Marignac.
Marignac has produced the films of Jacques Rivette for more than three decades, including 1981's Paris-based comedy "Le Pont du Nord" (The Bridge of the North). She also has produced the Jean-Louis Comolli thriller "L'ombre rouge" (The Red Shadow) and "Golden Eighties" by Chantal Akerman before co-founding the still-active Pierre Grise Prods. in 1987.
With Pierre Grise, her co-production credits have included Marco Bellocchio's "Il sogno della farfalla" (The Dream of the Butterfly) and Joao Cesar Monteiro's "A comedia de Deus" (The Comedy of God).
"Martine Marignac embodies both passion and independence," Locarno's artistic director Frederick Maire said in a statement. "We are proud to pay tribute to this outstanding personality."
The prize is named for the former Locarno Film Festival director of the same name.
Marignac has produced the films of Jacques Rivette for more than three decades, including 1981's Paris-based comedy "Le Pont du Nord" (The Bridge of the North). She also has produced the Jean-Louis Comolli thriller "L'ombre rouge" (The Red Shadow) and "Golden Eighties" by Chantal Akerman before co-founding the still-active Pierre Grise Prods. in 1987.
With Pierre Grise, her co-production credits have included Marco Bellocchio's "Il sogno della farfalla" (The Dream of the Butterfly) and Joao Cesar Monteiro's "A comedia de Deus" (The Comedy of God).
"Martine Marignac embodies both passion and independence," Locarno's artistic director Frederick Maire said in a statement. "We are proud to pay tribute to this outstanding personality."
The prize is named for the former Locarno Film Festival director of the same name.
- 6/2/2009
- by By Eric J. Lyman
- The Hollywood Reporter - Movie News
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