NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of Modern Art
A massive overview of Bulle Ogier continues, this weekend bringing Out 1.
Roxy Cinema
Jane Campion’s An Angel at My Table plays on Saturday, as does Time to Die and the latest “City Dudes“; a print of Night Tide shows Friday; The Last of the Mohicans and The Outsiders play on 35mm this Sunday.
Paris Theater
13 Assassins, Collateral, and Bullitt all play on 35mm in a hitman retrospective.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizu retrospective continues (watch our exclusive trailer debut).
Bam
Horace Ove’s Pressure plays in a new restoration.
Metrograph
A Kelly Reichardt retrospective has begun (watch our exclusive trailer debut).
Film at Lincoln Center
Peter Kass’ restored Time of the Heathen opens.
Film Forum
Le Samouraï continues in a new 4K restoration; Star Wars plays on Sunday.
IFC Center...
Museum of Modern Art
A massive overview of Bulle Ogier continues, this weekend bringing Out 1.
Roxy Cinema
Jane Campion’s An Angel at My Table plays on Saturday, as does Time to Die and the latest “City Dudes“; a print of Night Tide shows Friday; The Last of the Mohicans and The Outsiders play on 35mm this Sunday.
Paris Theater
13 Assassins, Collateral, and Bullitt all play on 35mm in a hitman retrospective.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizu retrospective continues (watch our exclusive trailer debut).
Bam
Horace Ove’s Pressure plays in a new restoration.
Metrograph
A Kelly Reichardt retrospective has begun (watch our exclusive trailer debut).
Film at Lincoln Center
Peter Kass’ restored Time of the Heathen opens.
Film Forum
Le Samouraï continues in a new 4K restoration; Star Wars plays on Sunday.
IFC Center...
- 5/10/2024
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Our House of Tolerance 35mm presentation returns Friday; prints of Night Tide and Eddie Murphy: Raw show Saturday; The Last of the Mohicans and Thief play on 35mm this Sunday.
Museum of Modern Art
A massive overview of Bulle Ogier has begun, this weekend bringing Fassbinder, Rivette, Buñuel, Duras, and more.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizu retrospective begins (watch our exclusive trailer debut); The Abyss screens on Sunday.
Anthology Film Archives
A new Marguerite Duras retrospective begins, while “Cinema of Palestinian Return” continues.
Bam
“Uncharted Territories” highlights Black British cinema from 1963 to 1986.
Film at Lincoln Center
“Seeing the City” presents an avant-garde vision of New York.
Metrograph
“’90s Noir” brings Bound and Deep Cover, while Euro-Heists, a Jane Schoenbrun curation, Dream with Your Eyes Open, Ethics of Care, and Animal Farm all start; meanwhile,...
Roxy Cinema
Our House of Tolerance 35mm presentation returns Friday; prints of Night Tide and Eddie Murphy: Raw show Saturday; The Last of the Mohicans and Thief play on 35mm this Sunday.
Museum of Modern Art
A massive overview of Bulle Ogier has begun, this weekend bringing Fassbinder, Rivette, Buñuel, Duras, and more.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizu retrospective begins (watch our exclusive trailer debut); The Abyss screens on Sunday.
Anthology Film Archives
A new Marguerite Duras retrospective begins, while “Cinema of Palestinian Return” continues.
Bam
“Uncharted Territories” highlights Black British cinema from 1963 to 1986.
Film at Lincoln Center
“Seeing the City” presents an avant-garde vision of New York.
Metrograph
“’90s Noir” brings Bound and Deep Cover, while Euro-Heists, a Jane Schoenbrun curation, Dream with Your Eyes Open, Ethics of Care, and Animal Farm all start; meanwhile,...
- 5/3/2024
- by Nick Newman
- The Film Stage
However hard it is to expand the canon, legwork must always be done. In my own time I’ve seen the understanding of mid-century Japanese cinema expand, however marginally, from Kurosawa alone to Ozu and Mizoguchi; it may be now that we place room for their contemporary Hiroshi Shimizu, whose films are subject of a two-part, cross-borough retrospective beginning next week. On May 4, Queens’ Museum of the Moving Image launches Part I: The Shochiku Years; May 16 will bring Part II: The Postwar and Independent Years to Manhattan’s Japan Society. In total the series spans 27 films, all shown on 35mm prints “imported from collections and archives in Japan.” We are accordingly thrilled to debut its trailer.
Here’s the series’ synopsis: “An unsung master of Japanese cinema, Hiroshi Shimizu (1903–1966) was highly regarded by contemporaries Yasujirō Ozu and Kenji Mizoguchi for his seemingly effortless formal ingenuity, distinguished by his signature linear traveling shots and his naturalistic,...
Here’s the series’ synopsis: “An unsung master of Japanese cinema, Hiroshi Shimizu (1903–1966) was highly regarded by contemporaries Yasujirō Ozu and Kenji Mizoguchi for his seemingly effortless formal ingenuity, distinguished by his signature linear traveling shots and his naturalistic,...
- 4/26/2024
- by Nick Newman
- The Film Stage
Hiroshi Shimizu’s filmography, one deserving of more recognition, is now getting the big screen treatment on an international scale.
The late pioneering Japanese director is the subject of two honorary retrospectives, programmed in partnership between the Museum of the Moving Image and Japan Society and co-organized with the National Film Archive of Japan and the Japan Foundation, New York. Part I, titled “The Shochiku Years,” begins May 4 at the Museum of the Moving Image and runs through May 19.
The series includes Shimizu’s works that range from early melodramas in both silent and sound films to his illustrious tours of provincial life, which would later become a signature of the filmmaker’s style. Programming highlights include “Japanese Girls at the Harbor” (1933), “Mr. Thank You” (1936), “The Masseurs and a Woman” (1938), and “Ornamental Hairpin” (1941). Screening of select films are very rare, and have not screened in the city in decades, including “A Star Athlete,...
The late pioneering Japanese director is the subject of two honorary retrospectives, programmed in partnership between the Museum of the Moving Image and Japan Society and co-organized with the National Film Archive of Japan and the Japan Foundation, New York. Part I, titled “The Shochiku Years,” begins May 4 at the Museum of the Moving Image and runs through May 19.
The series includes Shimizu’s works that range from early melodramas in both silent and sound films to his illustrious tours of provincial life, which would later become a signature of the filmmaker’s style. Programming highlights include “Japanese Girls at the Harbor” (1933), “Mr. Thank You” (1936), “The Masseurs and a Woman” (1938), and “Ornamental Hairpin” (1941). Screening of select films are very rare, and have not screened in the city in decades, including “A Star Athlete,...
- 4/4/2024
- by Samantha Bergeson
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our email newsletter by clicking here.NEWSThis week, we’re remembering the iconoclastic, anti-capitalist filmmaker Jean-Marie Straub, who has died at the age of 89. In the course of revisiting Christopher Small’s Straub-Huillet Companion column, we were moved by this quotation from Straub, from a 1974 edition of Jump Cut:The revolution is like God’s grace, it has to be made anew each day, it becomes new every day, a revolution is not made once and for all. And it’s exactly like that in daily life. There is no division between politics and life, art and politics. I think one has no other choice, if one is making films that can stand on their own feet, they must become documentary, or in any case they must have documentary roots. Everything must be correct,...
- 11/23/2022
- MUBI
Revisiting last year's introduction when putting together 2021's favorites, it is with a shock to realize how little has changed in the wildly disrupted world of cinema under the shroud of the pandemic. The urge to copy-and-paste the whole shebang is quite tempting indeed.What can we say about this year, 2021? We got a little more used to long-term instability. Cinemas and festivals re-opened, only for some to close again. We, like many, ventured carefully out into the world to finally see films again with audiences, all kinds: nervous ones, uproarious ones, spartan ones, and delighted ones. It was an experience both anxious and joyous. We also doubled down on the challenges, but also the pleasures, of home viewing: of virtual cinemas and virtual festivals, of straight to streaming premieres, of trying to capture a social joy in semi-isolation by connecting with others over experiences shared and disparate.The long...
- 12/27/2021
- MUBI
Pioneering filmmaker and actress was second woman to direct a feature in history of Japanese cinema.
The Locarno Film Festival will celebrate the work of Japanese director and actress Kinuyo Tanaka at its upcoming 73rd edition (August 5-15), in its first ever retrospective dedicated to a female artist.
Tanaka (1909 –1977) was a pioneering figure in Japanese cinema throughout her 50-year career, appearing in the films of legendary directors Yasujiro Ozu and Kenji Mizoguchi before striking off to direct her own films.
“This is the first time that the festival will be dedicating its retrospective to a female director, after 73 years,” said...
The Locarno Film Festival will celebrate the work of Japanese director and actress Kinuyo Tanaka at its upcoming 73rd edition (August 5-15), in its first ever retrospective dedicated to a female artist.
Tanaka (1909 –1977) was a pioneering figure in Japanese cinema throughout her 50-year career, appearing in the films of legendary directors Yasujiro Ozu and Kenji Mizoguchi before striking off to direct her own films.
“This is the first time that the festival will be dedicating its retrospective to a female director, after 73 years,” said...
- 1/23/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Edinburgh exhibitor Filmhouse is to tour a season of films about childhood across the UK, curated by documentary filmmaker Mark Cousins.
The season will comprise 17 films about childhood (see below for full list).
Most of the titles in the season are featured in Cousins’ documentary A Story of Children and Film, which premiered at Cannes last year.
The April-June tour will take in London, Belfast, Cardiff, Nottingham, Glasgow, Brighton, Bristol and Sheffield among other cities.
The season is managed by Filmhouse, which has also licensed VoD rights to a number of the titles.
The project is backed by the BFI’s Programming Development Fund. Adam Dawtrey and Mary Bell, who also produced A Story of Children and Film, are producers.
The full list of titles screening in the Cinema of Childhood season are:
• “Willow and Wind” (Bid-o Baad). Iran, Japan, 1999. D. Mohammad-Ali Talebi. 77 mins. A boy breaks a school window, and must mend...
The season will comprise 17 films about childhood (see below for full list).
Most of the titles in the season are featured in Cousins’ documentary A Story of Children and Film, which premiered at Cannes last year.
The April-June tour will take in London, Belfast, Cardiff, Nottingham, Glasgow, Brighton, Bristol and Sheffield among other cities.
The season is managed by Filmhouse, which has also licensed VoD rights to a number of the titles.
The project is backed by the BFI’s Programming Development Fund. Adam Dawtrey and Mary Bell, who also produced A Story of Children and Film, are producers.
The full list of titles screening in the Cinema of Childhood season are:
• “Willow and Wind” (Bid-o Baad). Iran, Japan, 1999. D. Mohammad-Ali Talebi. 77 mins. A boy breaks a school window, and must mend...
- 2/4/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Criterion does it again, rescuing a major filmmaker from the quicksand of neglect, happenstance and/or canonical prejudice, and shoving them into the spotlight with state-of-the-art DVD releases that virtually demand a reevaluative reckoning. As with Larisa Shepitko, Jacques Becker, Raymond Bernard, William Klein and Jean Painlevé, you won't find mention of Hiroshi Shimizu in any major English-language film history text, and in each case the elisions are criminal. An almost exact contemporary of Ozu, Mizoguchi and Naruse, from the beginnings of their careers in the mid-to-late '20s to their last films, Shimizu echoes a good deal of their field of concerns -- the plight of women in a patriarchy, the delicacy of the unsaid, the tragic spiral of romantic melodrama -- but comes at them with a subtly distinctive way of observing his characters, similar to Ozu's rigorous restraint but freer, more organic, less "perfect" and more spontaneous.
- 3/17/2009
- by Michael Atkinson
- ifc.com
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