What to Watch NYC, Weekend of Aug 6 - 9 2015

All film titles link to screening information.

Thursday August 6th:
Hiroshima Mon Amour, New DCP 4K Restoration, Showtimes throughout the day @ FF 

A Matter of Time, 35mm, 7PM @ AFA 

Bless Their Little Hearts, 35mm, 7 or 9:30PM @ BAM 

Tales of Hoffman, New DCP Restoration, 7PM @ MoMA

The Moon with Teeth, Digital, 7:30PM @ Spectacle Theater

Last chance to catch Jem Cohen's masterpiece Counting [Q+A w/ Jem Cohen after 7:25PM show], DCP, Showtimes throughout the day @ IFC

Friday August 7th:
The Flavor of Green Tea Over Rice, 35mm, 11AM @ IFC

The Red Shoes, 35mm, 4:30PM @ MoMA

Boxcar Bertha, 35mm, 7PM @ AFA
Sökarna, Digital, 7PM @ Spectacle
Seventeen [Q+A w/ Joel DeMott], 16mm, 7PM @ BAM
Black Narcissus, 35mm, 8:00PM @ MoMA

Last Tango in Paris, 35mm, 9:45PM @ FF
Five Deadly Venoms, 35mm, 12:15AM @ Nitehawk

Cinema on the Edge: The Best of Beijing Independent Film Festival 2012 - 2014 kicks off and runs through August 13th @ AFA
See It Big! 70mm kicks off @ MoMI
Metropolitan [Q+A's throughout the weekend after the 7PM shows], new DCP restoration opens @ FSLC with daily showtimes throughout the week

Saturday August 8th:

The Freshman, 35mm, 4:30PM @ FF

Blue Velvet, 35mm, 4:30 or 9:30PM @ BAM

Un chant d'amour / Pull My Daisy, both on 35mm, 5PM @ AFA [Free for members]

Queen of Blood, 16mm, 7PM @ AFA

The Surveyors, Digital, 10PM @ Spectacle

Toxic Zombies, Digital, Midnight @ Spectacle

Sunday August 9th: 

Viva Zapata!, 35mm, 12:30PM @ FF

The Apple, Digital, 5PM @ Spectacle

Apocalypse Now, DCP, 8PM @ FF

Last chance to catch Sisters [7PM] and Blood & Lace [9PM] at AFA.

Continuing: 

Phoenix @ IFC

Tangerine @ FSLC

Update:
God Bless the Child plays throughout the weekend with Q+A's.

the log / seventh month / year 2015

/pedro costa taught me more than film school/ depressing to see that something as important as in vanda's room with pedro doing a q&a afterwards doesn't sell out/ or that the whole retrospective in general wasn't as well attended as i would've hoped/ delved into moma's technicolor series/ explored the museum of the moving image/

First Tier

Second Tier

Third Tier

Fourth Tier

Trash

[click on title for more info]

7/2: Two Years at Sea, DVD

* 7/4: Celine and Julie Go Boating, avi file

* 7/7: The Battle of Midway, 35mm (short)

* 7/7: She Wore a Yellow Ribbon, 35mm

* 7/9: Mad Max: Fury Road, Real D 3D

* 7/11: Chryskyloden Blues, Vimeo

7/11: Heaven Knows What, DCP w/ Q&A

* 7/12: What Did the Lady Forget?, 35mm

* 7/12: The Lodger, DCP w/ live piano accompaniment

* 7/12: Technicolor for Industrial Films, 35mm (short)

* 7/12: Cobra Woman, 35mm

* 7/12: Wagon Master, 35mm

* 7/13: Funny Little Bunnies, 35mm (short)

* 7/13: Easter Parade, 35mm

* 7/13: Homegrown, Streaming

7/14: The Naked Spur, 35mm

* 7/14: Eden, DCP

7/17: Ossos, 35mm

* 7/17: Casa de lava, DCP

* 7/18: The Fearmakers, 35mm

* 7/18: O sangue, 35mm

7/18: In Vanda's Room, 35mm

7/18: Ne change rien, 35mm

* 7/19: 6 Bagatelas, Digital

7/19: Not Reconciled, 35mm

7/19: Colossal Youth, 35mm

* 7/21: Land of the Pharaohs, 35mm

* 7/21: Daïnah la métisse, 35mm

* 7/21: Trás-os-Montes, 35mm

* 7/21: Two Lovers, Streaming

* 7/22: The Green Years, 35mm

* 7/23: Western Union, 35mm

* 7/23: Where Does Your Hidden Smile Lie?, 35mm

* 7/23: Why Don't You Play in Hell?, Streaming

7/24: The Tenant, DVD

* 7/25: Mogambo, 35mm

* 7/25: How Green Was My Valley, DVD

* 7/26: The Record of a Tenement Gentleman, 35mm

7/26: Hollis Frampton program [Zorns Lemma, (nostalgia)], 16mm

* 7/27: Drums Along the Mohawk, DVD

* 7/28: A New Dawn, 35mm

* 7/29: May God Forgive Me, 35mm

* 7/29: Money From Home, 3D excerpt

7/29: Artists and Models, 35mm

7/29: Coma, DVD

* 7/30: Horse Money, DCP

7/30: The Bodyguard, Blu-Ray

* 7/31: Blood and Lace, 35mm

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* First time viewings

Top Five:

1. Celine and Julie Go Boating (Jacques Rivette, 1974)

- Where Does Your Hidden Smile Lie? (Pedro Costa, 2001)

2. Land of the Pharoahs (Howard Hawks, 1955)

3. Daïnah la métisse (Jean Grémillon, 1932)

- She Wore a Yellow Ribbon (John Ford, 1949)

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Blood and Lace (Philip Gilbert, 1971)

Opening with a beautiful homage to Psycho via a dream sequence that marries Eisenstein (the past) and Halloween (the future). Everything else that follows seems to come from a different universe. If Mr. Gilbert would've ever made another film maybe that universe could have expanded but he didn't so it's all contained here. A blonde (Melody Patterson) finds herself as an underage orphan after her prostitute mother is brutally murdered. This propels a series of events that could constitute the plot of ten different films. Throw in Gloria Grahame in her What Ever Happened to Baby Jane? role. An ending worthy of Oldboy and Sleepaway Camp that has a time traveling cameo by a fat Freddy Kreuger. A film that subconsciously entered cinema history through it's influence, even if it went widely unseen (until recently at least).

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Director of Photography: Paul Hipp

Presented by William Lustig on 35mm as a kick-off of the essential American International Pictures on-going series at Anthology Film Archives.

dying

That the process of showing movies was physical, controllable, and infinitely repeatable provided a definite sense of security: the strips of film wrapped around the reel, looped through the slot, guided by sprocket holes past the lightbeam. Dust glistened in the ray that bisected the room. The projector gave off a characteristic smell of heated metal which became the smell of resurrection, the odor of yards and bodies brought to life out of nothing.  The odor of mere blur: the shoulder hurtling beyond the camera range, the clump of red jacket blocking out light, the sloppily truncated grin, the unanticipitaed incursions of shadow and glare. The motion of the pictures was demonstrably organic by its jerkiness and chaos: an eerie alternate life form.

Geoffrey O'Brien, The Phantom Empire: Movies in the Mind of the 20th Century 

the next step in the digital turnover

I wonder if in ten years we'll go to museums and look at HD projected images instead of actual paintings