Since any New York City 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.
Metrograph
The director’s cut of Woodstock plays on 35mm this Saturday.
The Pasolini retrospective continues.
The restorations of A Bigger Splash and Audition still screen.
A series on documentarian Kevin Rafferty runs this weekend.
Whale Rider and Max Mon Amour play at opposite ends of the day.
Museum of the Moving Image
“See It Big!
Metrograph
The director’s cut of Woodstock plays on 35mm this Saturday.
The Pasolini retrospective continues.
The restorations of A Bigger Splash and Audition still screen.
A series on documentarian Kevin Rafferty runs this weekend.
Whale Rider and Max Mon Amour play at opposite ends of the day.
Museum of the Moving Image
“See It Big!
- 7/12/2019
- by Nick Newman
- The Film Stage
45 Years director Andrew Haigh Photo: Anne-Katrin Titze
Before my conversation with Charlotte Rampling on 45 Years at the Plaza Athénée, where Robert Redford was spotted, I spoke with Andrew Haigh, who won the Michael Powell Award at this year's Edinburgh International Film Festival, about an Alfred Hitchcock Vertigo connection, Max, the German Shepherd, not Max Mon Amour's chimpanzee, Bluebeard, and ghosts in the attic.
Geoff (Tom Courtenay) with Kate (Charlotte Rampling)
Rampling stars with Tom Courtenay as Kate and Geoff Mercer. Their life in rural Norfolk, without children, comfortable in their cottage, is one of routine. Kate's early walks with their dog Max start the day and a home-cooked meal, a glass of wine and a good book end it. 45 Years is based on the David Constantine short story In Another Country.
When we first meet her on the daily stroll, Kate hums Smoke Gets in Your Eyes, a meaningful...
Before my conversation with Charlotte Rampling on 45 Years at the Plaza Athénée, where Robert Redford was spotted, I spoke with Andrew Haigh, who won the Michael Powell Award at this year's Edinburgh International Film Festival, about an Alfred Hitchcock Vertigo connection, Max, the German Shepherd, not Max Mon Amour's chimpanzee, Bluebeard, and ghosts in the attic.
Geoff (Tom Courtenay) with Kate (Charlotte Rampling)
Rampling stars with Tom Courtenay as Kate and Geoff Mercer. Their life in rural Norfolk, without children, comfortable in their cottage, is one of routine. Kate's early walks with their dog Max start the day and a home-cooked meal, a glass of wine and a good book end it. 45 Years is based on the David Constantine short story In Another Country.
When we first meet her on the daily stroll, Kate hums Smoke Gets in Your Eyes, a meaningful...
- 12/5/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Star of a new series of the ITV hit Broadchurch, Charlotte Rampling talks about playing the outsider, how she nailed The Look – and why her sister’s suicide changed everything
Not long ago, at home in Paris, Charlotte Rampling switched on the old movie channel she watches all the time, the way some people leave the radio on. She saw that one of her films was playing. Max Mon Amour (1986) is the story of a diplomat’s wife, Margaret, who has an affair with a chimpanzee, Max. There’s a scene in which the pair are discovered in bed together, Max concealed beneath the white covers as the husband rages through the bedroom door; another when Max joins a formal dinner party, only to be dismissed in disgrace after covering Margaret with apey kisses. Rampling plays Margaret without a trace of self-consciousness, even as Max hooks his hairy arms around...
Not long ago, at home in Paris, Charlotte Rampling switched on the old movie channel she watches all the time, the way some people leave the radio on. She saw that one of her films was playing. Max Mon Amour (1986) is the story of a diplomat’s wife, Margaret, who has an affair with a chimpanzee, Max. There’s a scene in which the pair are discovered in bed together, Max concealed beneath the white covers as the husband rages through the bedroom door; another when Max joins a formal dinner party, only to be dismissed in disgrace after covering Margaret with apey kisses. Rampling plays Margaret without a trace of self-consciousness, even as Max hooks his hairy arms around...
- 12/20/2014
- by Sophie Elmhirst
- The Guardian - Film News
Nagisa Oshima movies: From Death by Hanging to Taboo [See previous post: "Nagisa Oshima: In the Realm of the Senses (Truly) Iconoclastic Filmmaker Dies."] Among Nagisa Oshima’s other seminal works are Death by Hanging (1968); and the Cannes Film Festival entries Empire of Passion (1978), Merry Christmas Mr. Lawrence (1983), Max Mon Amour (1986), and Taboo (1999), which turned out to be Oshima’s last effort. With the exception of Max Mon Amour, the Cannes titles were also nominated for multiple Japanese Academy Awards, including Best Picture. (Photo: Nagisa Oshima.) Much like In the Realm of the Senses, Death by Hanging was inspired by a real-life incident: the botched hanging of a young Korean man convicted of rape and murder. In Merry Christmas Mr. Lawrence, David Bowie plays a World War II prisoner of war who has a complex Billy Budd-like — desire/hate — relationship with a Japanese captain (played by rock star Ryuichi Sakamoto, who also composed the film’s score). Despite its title and the presence of Tatsuya Fuji,...
- 1/17/2013
- by Andre Soares
- Alt Film Guide
The Japanese director, who has died aged 80, deserves to be known for more than In the Realm of the Senses. He was a brilliant satirist who took aim at hypocrisy and confirmity
The last time the director Nagisa Oshima came into my head was while watching Bobcat Goldthwait's World's Greatest Dad. A teenage boy kills himself in a failed auto-erotic strangling experiment and his father (Robin Williams), a failed writer, disguises it as a heart-wrenching suicide and writes a sucrose bestselling "memoir" of his tragic son.
Without Oshima's sensational 1976 masterpiece Ai No Corrida – known to English-speaking audiences as In the Realm of the Senses – none of that could exist. Western audiences were stunned at the film's dark and fanatical intensity, its violence, its fusion of eros and thanatos, and of course its erotic choking scenes, that black mass of ritualised sexuality with which a woman kills her lover. Many...
The last time the director Nagisa Oshima came into my head was while watching Bobcat Goldthwait's World's Greatest Dad. A teenage boy kills himself in a failed auto-erotic strangling experiment and his father (Robin Williams), a failed writer, disguises it as a heart-wrenching suicide and writes a sucrose bestselling "memoir" of his tragic son.
Without Oshima's sensational 1976 masterpiece Ai No Corrida – known to English-speaking audiences as In the Realm of the Senses – none of that could exist. Western audiences were stunned at the film's dark and fanatical intensity, its violence, its fusion of eros and thanatos, and of course its erotic choking scenes, that black mass of ritualised sexuality with which a woman kills her lover. Many...
- 1/15/2013
- by Peter Bradshaw
- The Guardian - Film News
Above: André François’ poster for L’humeur vagabonde (Edouard Luntz, France, 1971).
Two weeks ago, in my post about the work of Pierre Etaix, I mentioned Etaix’s admiration for the cartoonist, painter and sculptor André François, who designed a number of posters for Etaix’s films. This got me searching for more of François’s work.
Born in 1915 in Austria-Hungary—in what is now Timisoara, Romania—André Farkas, as he was then known, studied at the Academy of Fine Arts in Budapest before moving to Paris in 1934 where he worked with the great French poster designer A.M. Cassandre, became a French citizen and changed his name. By the 1940s he was already a popular and prolific illustrator, working for satirical magazines in France and Britain. In his New York Times obituary, Steven Heller wrote that François’ “biting satires of the human comedy influenced a generation of American editorial illustrators...
Two weeks ago, in my post about the work of Pierre Etaix, I mentioned Etaix’s admiration for the cartoonist, painter and sculptor André François, who designed a number of posters for Etaix’s films. This got me searching for more of François’s work.
Born in 1915 in Austria-Hungary—in what is now Timisoara, Romania—André Farkas, as he was then known, studied at the Academy of Fine Arts in Budapest before moving to Paris in 1934 where he worked with the great French poster designer A.M. Cassandre, became a French citizen and changed his name. By the 1940s he was already a popular and prolific illustrator, working for satirical magazines in France and Britain. In his New York Times obituary, Steven Heller wrote that François’ “biting satires of the human comedy influenced a generation of American editorial illustrators...
- 11/2/2012
- by Adrian Curry
- MUBI
Legendary French writer Jean-Claude Carrière has crafted strange, wonderful films with directors from Buñuel to Godard. He talks here about the art of creating cinematic enigmas
Reading this on mobile? Click here to view
Jean-Claude Carrière welcomes me into the former gaming house and den of iniquity that he has called home for nearly half his 80 years; the 19th-century building stands in a sun-dappled Parisian courtyard. It's a glorious afternoon, and I apologise for being so demonstrably English in remarking on that fact, but the legendary screenwriter – tall, with salt-and-pepper stubble and warm, alert eyes – waves away my words. "Why shouldn't we discuss it?" he chuckles. "At least everyone can agree on the weather." Imagine the sense of social rupture if they didn't. "I have a little of that," he confesses, settling into an armchair in a high-ceilinged living room where wooden sculptures stand guard over Persian rugs. "Coming from...
Reading this on mobile? Click here to view
Jean-Claude Carrière welcomes me into the former gaming house and den of iniquity that he has called home for nearly half his 80 years; the 19th-century building stands in a sun-dappled Parisian courtyard. It's a glorious afternoon, and I apologise for being so demonstrably English in remarking on that fact, but the legendary screenwriter – tall, with salt-and-pepper stubble and warm, alert eyes – waves away my words. "Why shouldn't we discuss it?" he chuckles. "At least everyone can agree on the weather." Imagine the sense of social rupture if they didn't. "I have a little of that," he confesses, settling into an armchair in a high-ceilinged living room where wooden sculptures stand guard over Persian rugs. "Coming from...
- 6/28/2012
- by Ryan Gilbey
- The Guardian - Film News
Blu-ray & DVD Release Date: April 10, 2012
Price: DVD $29.95, Blu-ray $34.95
Studio: Kino Lorber
The 2011 documentary film The Look focuses its eye on the brains and beauty of French actress Charlotte Rampling (Never Let Me Go).
Director Angelina Maccarone’s method finds Rampling engaging in candid conversations with many of her closest friends, including author Paul Auster and photographer Juergen Teller. Very much at ease with these old acquaintances, Rampling reveals her views on aging, beauty, desire and death with disarming frankness. Often these conversations veer into the questions raised by her films, like the taboo sexuality of The Night Porter (1974) and Max mon Amour (1986), or the tough moral choices of Sidney Lumet’s The Verdict (1982).
Featuring a number of clips from Rampling’s films (including Woody Allen’s Stardust Memories and Francois Ozon’s Swimming Pool), The Look played a limited run in a couple of U.S. theaters in November, 2011.
The Look is presented in English,...
Price: DVD $29.95, Blu-ray $34.95
Studio: Kino Lorber
The 2011 documentary film The Look focuses its eye on the brains and beauty of French actress Charlotte Rampling (Never Let Me Go).
Director Angelina Maccarone’s method finds Rampling engaging in candid conversations with many of her closest friends, including author Paul Auster and photographer Juergen Teller. Very much at ease with these old acquaintances, Rampling reveals her views on aging, beauty, desire and death with disarming frankness. Often these conversations veer into the questions raised by her films, like the taboo sexuality of The Night Porter (1974) and Max mon Amour (1986), or the tough moral choices of Sidney Lumet’s The Verdict (1982).
Featuring a number of clips from Rampling’s films (including Woody Allen’s Stardust Memories and Francois Ozon’s Swimming Pool), The Look played a limited run in a couple of U.S. theaters in November, 2011.
The Look is presented in English,...
- 4/3/2012
- by Laurence
- Disc Dish
In ‘celebration’ of the release of Adam Sandler’s latest comedy Jack & Jill (which is already out in the Us, alas UK readers will have to wait until February 3rd, but at least then you can take your loved ones to it on Valentine’s Day!), I thought I’d take a look at 10 other films I am baffled ever got the green light. I mean, watching the trailer for Jack & Jill one might think it was a deleted scene from the film Funny People in which Sandler mocked the kind of ridiculous high concept comedies that he is so often guilty of making. We thought after pushing them to extremes with spoof clips in that movie which included Sandler’s head magicked onto a baby’s body, it seemed like Sandler was both affectionately lampooning some of his early career decisions and also putting to rest that kind of...
- 11/22/2011
- by Owain Paciuszko
- Obsessed with Film
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