Every year, the Film Society of Lincoln Center has a number of widely-attended film series and while the New York Film Festival is still the society’s annual milestone, there are a number of series that still bring in a lot of movie lovers, including Film Comment Selects (going on right now) and the annual New Directors/New Films, done in conjunction with the Museum of Modern Art (MOMA).
The full line-up for the latter was just announced with Ana Lily Amirpour’s A Girl Walks Home Alone at Night kicking things off on March 19 and Iain Forsyth & Jane Pollard’s portrait of singer/songwriter Nick Cave, 20,000 Days on Earth taking the Closing Night slot. Gillian Robespierre’s Obvious Child, starring comedienne Jenny Slate, which was picked up by A24 at Sundance will be the festival’s Centerpiece.
Also from Sundance, they’ll be showing Justin Simien’s Dear White People and Jennifer Kent’s Australian horror film The Babadook, which was picked up at Sundance by IFC Midnight, as well as Richard Aoyade’s festival favorite The Double, starring Jesse Eisenberg.
You can read the full press release and the announcement of this year’s New Directors/New Films line-up below:
The Film Society of Lincoln Center and The Museum of Modern Art announced the complete lineup today for the 43rd edition of New Directors/New Films (March 19 March 30). For 43 years New Directors/New Films has been an annual rite of early spring in New York City, bringing exciting discoveries from around the world to adventurous moviegoers. All aspects of cinema, from production to exhibition, have changed dramatically over the years, but the spirit of innovation and the element of surprise that have always defined this festival remain intact. Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, this years festival will screen 27 international feature films and 13 short films.
A festival like New Directors/New Films strives to be at once diverse and cohesive, says Dennis Lim, the Film Society of Lincoln Centers Director of Programming and co-chair of the 2014 ND/NF selection committee. This years lineup represents a wide range of styles, voices, interests, and points of view, but it also amounts to a statement on what truly matters in world cinema today. These are filmmakers who are breaking new ground or reviving old forms, reinventing genres or inventing them from scratch all vital and exciting in their own way.
The opening night feature is Ana Lily Amirpours A Girl Walks Home Alone at Night, a Persian, black-and-white, noirish thriller that recently bowed at the Sundance Film Festival to critical acclaim and is based on a graphic novel written by Amirpour about a young female vampire who stalks the streets of a fictional lonely Iranian ghost town. The closing night feature, 20,000 Days on Earth, by visual artists Iain Forsyth and Jane Pollard, also had its premiere at Sundance, where it won directing and editing awards in the World Cinema Documentary category. The film follows a fictitious 24 hours in the life of musical and cultural icon Nick Cave as he is writing his 2013 album Push the Sky Away.
Gillian Robespierres Obvious Child is the centerpiece selection and features a star-making lead performance from Jenny Slate in an uproarious yet serious-minded riff on reproductive rights. The film will be shown at MoMA PS1, 22-25 Jackson Avenue in Long Island City, New York, as well as at FSLC.
ND/NF has always been proudly committed to international cinema at its most inventive and progressive, says Jytte Jensen, Curator of Film, The Museum of Modern Art and co-chair of the 2014 ND/NF selection committee. “This year’s representation of 29 countries in our selection is a testament to that dedication. Whether looking from the outside-in on a culture or event or creating their own immersive world for their stories, each film has a personal style and vision that marks its director as an important cinematic storyteller: talented, intrepid, resourceful, and committed.
A variety of themes emerge from this eclectic lineup. Genre tropes get a vigorous workout with some moody offerings. In the Australian shocker The Babadook first-timer Jennifer Kent offers up a smart things that go-bump-in-the-night scare flick about a sinister figure that menaces a mother and son. Hélène Cattet and Bruno Forzanis The Strange Color of Your Bodys Tears is a delirious, blood-splattered haunted-house movie that pays homage to classic Italian horror tropes. Another vampiric offering (in addition to the opening night selection), but one that offers more reflection than scares, is the Locarno festival winner Albert Serras Story of My Death, a costume drama unlike any other that imagines a tussle between two legendary figures, Casanova and Dracula.
Audiences looking for fresh comedic perspectives have several options, including the centerpiece selection Gillian Robespierres Obvious Child. Benedikt Erlingssons Of Horses and Men is a sumptuously shot Icelandic take on the relationship between humans and animals. Meanwhile, Justin Simiens satirical feature debut Dear White People is a provocative dissection of U.S. race relations, focusing on black students at an Ivy League college and a riot that breaks out over an African-American-themed party thrown by white students.
A pair of serious-minded documentaries are notable for their topicality and urgency in addressing complicated ongoing conflicts. Hubert Saupers We Come as Friends is a chilling follow up to his Oscar-nominated Darwins Nightmare. This masterful exploration of modern colonialism details the absurd horrors in war-torn Sudan, with devastating insights into how Africa is being pillaged for resources from outsiders. Talal Derkis Return to Homs, winner of the World Cinema Grand Jury Prize for Documentary at Sundance is an immersive inside account of the Syrian civil war, following two close friends whose lives are altered when their beloved city is bombed into a ghost town.
Social divisions and sexual identity are tackled with great deftness and imagination in several films. In Alejandro Fernández Almendras Rotterdam and Sundance award-winning psychological thriller To Kill a Man, bullies and their victims live side by side in a working-class neighborhood and the protagonist decides to take matters into his own hands once pushed over the edge. Another uneasy sociological thriller comes fresh from the Berlinale: Benjamín Naishtats History of Fear has drawn comparisons to Michael Haneke with its prolonged, tense scenes. Films dealing with stirrings and awakenings include a Cannes favorite set deep in the Texas Bible Belt: Roberto Minervinis Stop the Pounding Heart, which centers on a devout Christian goat-farming family and follows Sara and Colby, two 14-year-olds who are quietly drawn to each other. Also exploring adolescent sexuality is Abdellah Taïas Salvation Army, a deeply personal film based on his autobiography that offers a bracing, poetic look at a young gay Arab mans sexual and personal awakening.
The New Directors/New Films selection committee is made up of members from both presenting organizations: from the Film Society of Lincoln Center, Dennis Lim, Marian Masone, and Gavin Smith; and from The Museum of Modern Art, Jytte Jensen, Rajendra Roy, and Joshua Siegel.
Special thanks to German Films, Munich; Unifrance Films; Consulate General of Israel; Cinecittà; ProChile; Romanian Consulate of New York; Open Society Foundations.
Tickets go on sale to the general public on Monday, March 10 at Noon.
There is an advance ticketing opportunity for members of the Film Society of Lincoln Center and Museum of Modern Art. Film Society and MoMA Members may purchase tickets starting on Monday, March 3 at Noon. To become a Member of the Film Society or MoMA please visit: filmlinc.com and MoMA.org, respectively.
Tickets are $15, $12 for members of the Film Society of Lincoln Center and Museum of Modern Art. Tickets for Opening Night, Centerpiece, and Closing Night screenings are $20, $15 for members.
Save with a 3-film package: $36, $30 for members! Note: Opening Night, Centerpiece, and Closing Night screenings excluded. Package option applies to the purchase of three films or more; minimum purchase requirement of three (3) films.
The 43rd New Directors/New Films Selections & Descriptions
A Girl Walks Home Alone at Night
This super-stylish and spellbinding Persian take on the vampire genre doubles as a compact metaphor for the current state of Iran. Ana Lily Amirpours debut feature guides us on a dreamlike walk on the wild side, into the nocturnal and sparsely populated underworld of Bad City, an Iran of the mind that nevertheless rings true. In a cool and brooding scenario that involves just a handful of characters, an alluring female vampire stalks potential victims with a judgmental eyebut isnt immune to romantic desire when it presents itself in the form of a young hunk whos looking for a way out of his dead-end existence. With to-die-for high-contrast black-and-white cinematography and a sexy cast that oozes charisma, horror has seldom seemed so hot.
20,000 Days on Earth
This unclassifiable immersion in the twilight world of polymath musician Nick Cave is a portrait worthy of a great self-mythologizer. In their feature debut, artists Iain Forsyth and Jane Pollard combine footage of Cave and the Bad Seeds recording their 2013 album Push the Sky Away with alternately telling and teasing scenes that fall somewhere between fact and fiction. As Cave visits a shrink, digs into his archives, and reminisces with friends (like Ray Winstone and Kylie Minogue) who pop up in the backseat of his Jaguar, 20,000 Days on Earth evokes Godards One Plus One and Todd Hayness Im Not There in its playful deconstruction of stardom and identity. This enthralling film offers a glimpse of an icon at his most exposed, even as it adds another layer to his legend. A Drafthouse Films release.
A girl walks into a bar
and starts telling jokes about her vagina and her boyfriend. But it turns out the jokes on her: the boyfriends been sleeping with her friend, and he takes advantage of her public, extremely off-color verbal antics to dump her. Basting in misery (shes also about to lose her job) and alcohol (with a gay wing-man on hand to enable her), she attempts to find solace in family, friends, more stand-up, and ultimately a casual hookup. What comes next (no spoilers here) represents a brave new frontier in comedy, and director Gillian Robespierre tackles it head-on, with side splitting results. Truly a choice comedy, the film features a star-making lead performance by Jenny Slate, who allows herself to laugh along with the joke called life. An A24 release.
Young widow Amelia lives with her seven-year-old son, Samuel, who seems to get odder by the day. His fathers death in an accident when driving Amelia to the hospital to give birth to him may have something to do with the boys unnerving behavior, which scares other children and perhaps even his own mother. But when a sinister childrens book called Mister Babadook mysteriously appearsand keeps reappearingAmelia begins to wonder if theres a presence in the house more disturbed than her son. Jennifer Kents visually stunning debut genuinely frightens us with the revelation that the things that go bump in the night may be buried deep inside our psyches, not just in the basement. An IFC Midnight release.
Winner of the Locarno Film Festivals 2012 Best Emerging Director award for his debut feature Ape, Joel Potrykus makes a brazen leap forward with his sophomore effort, Buzzard, a darkly comical look at a slacker office temp who gets by on cold SpaghettiOs while getting off on stealing refund checks from his employer. Filmed on a shoestring budget, often guerrilla-style, in the writer-directors native Grand Rapids and Detroit, Michigan, Buzzard stars an unforgettable Joshua Burge as an angry young man who, through a series of small, increasingly unhinged mutinies, sticks it to corporate America on behalf of the great unsung 99%. Citing Alan Clarke, Jim Jarmusch, Michael Haneke, and Kelly Reichardt among his influences, Potrykus offers a barbaric yawp for truly independent regional American cinema.
Dear White People
Welcome to Winchester University where, in the name of diversity, the all-black residence hall Parker/Armstrong is about to be dismantled. In the middle of an Ivy League campus, all racial hell breaks loose: Samantha White (Tessa Thompson) uses her campus radio show to call out the administration as well as her fellow students, while Afroed geek Lionel (Tyler James Williams) writes for the all-white college newspaper hoping to expose hypocrisy campus-wide. No one is safe in the culture wars that follow. In his feature debut, Justin Simien riffs on groundbreaking films of the black experience of a generation ago (yes, really) to playfully explore the gray areas of race in America, and his satirical take challenges our ideas of identity in our supposed post-racial world.
Richard Ayoade has built a loyal following with his hilariously off characters, notably the one he plays in the TV series The IT Crowd and those that inhabit his 2010 directorial debut, Submarine. His cerebral, visually arresting follow-up, The Double, based on Dostoevskys 1846 novella, enters slightly darker territory, and recalls the stylizations of Terry Gilliam. Starring Jesse Eisenberg as both Simon James, a humdrum worker drone, and his gregarious doppelgänger, James Simon, the film is set within both the claustrophobic confines of Simons bureaucratic workplace and his paranoid mind. Aided by a stellar supporting cast (including Wallace Shawn, Mia Wasikowska, Sally Hawkins, Paddy Considine, and Chris ODowd), The Double firmly establishes Ayoade as a leading voice in contemporary cinematic comedy. A Magnolia Pictures release.
NORTH AMERICAN PREMIERE
Fish & Cat
A bold experiment in perpetual motion with an enigmatic time-warp narrative, Fish & Cat plays out as one continuous shot, with the camera moving among a host of characters at a remote forest and a nearby lake. Gradually subverting a gruesome premise drawn from a real-life case of a backwoods restaurant that served human flesh, the film builds an atmosphere of tension as a menacing pair descend on a campsite where a group of college kids have gathered for a kite-flying festival. But as the camera doubles back and crisscrosses between characters in real time, subtle space-time paradoxes suggest that something bigger is going on. Brilliantly sustained, Fish & Cat is further evidence of a new generation of filmmakers emerging in Iran.
NORTH AMERICAN PREMIERE
History of Fear (Historia del misdo)
How strong does a fence need to be, or how loud must an alarm blare, or how brightly should an open field be lit for us to feel safe? The impossibility of a definitive answer to these kinds of questions lies at the heart of Benjamín Naishtats unsettling feature debut. Set in an economically destabilized Argentina, the film weaves stories of characters from multiple social strata into an interlocking narrative of paranoia and fear. The isolation of wealth and detachment from neighbors causes insecurities to fester, feeding a security consumption culture and all its incumbent paraphernalia. As we begin to recognize and sympathize with the situations depicted, the most troubling realization of all arrives: we are doing it to ourselves.
The Japanese Dog
Offering a striking departure from the gallows humor of the Romanian New Wave, Jurgius Chekhovian The Japanese Dog instead pays loving homage to the tender and gently comical family dramas of Yasujiro Ozu, Late Spring and There Was a Father in particular. Victor Rebengiuc, a legendary veteran of stage and screen, imbues the elderly Costache Moldu with a stoic, yet fragile dignity as he reunites with his estranged son after losing his wife and home in a devastating flood. Exquisitely attuned to the rhythms of nature and rural lifeand the melancholy beauty of transient thingsThe Japanese Dog comes by its emotions honestly and poignantly.
Mouton (Sheep) is the nickname of Aurelien (David Mérabet), who at 17 is granted independence from his troubled family and goes off to live on his own in a seaside town. Hired as a chefs assistant, Sheep fits in well with his coworkers and makes new friends. Life is finally good. Shot in 16mm, Gilles Deroo and Marianne Pistones first feature studies the quotidian aspects of Moutons life through his eyes as well as those of the towns residents. Though fiction, the story is filmed as if it were a cinéma vérité documentary, the camera wandering from scene to scene, character to character. And just when audiences get into the groove of this town, something happens that changes things irrevocably. So two acts, not equally divided, bring us closer to the reality of living than many other films do, simply through small moments and gestures. Winner of two prizes at the Locarno Film Festival, Mouton is a lovely evocation of the pleasures and pain of small-town existence.
Of Horses and Men
The debut feature by celebrated stage director Benedikt Erlingsson announces the arrival of an innovative new cinematic voice. Set almost exclusively outdoors amid stunning Icelandic landscapes, the film features in equal parts a cast of exquisite short-legged Icelandic horses and human charactersincluding the terrific Ingvar E. Sigurdsson and Charlotte Bøving as meant-for-each-other but put-upon loversilluminating with great inventive flair the relationship between man and beast. Several narrative strands defined by the way each character relates to their horse recount a variety of situations according to the particulars of the seasons, resulting in a surprising and sometimes humorous symbiosis between horses, humans, and nature.
NORTH AMERICAN PREMIERE
Quod Erat Demonstrandum
Romania, mid-1980s. Sorin (Sorin Leoveanu), a gifted mathematician whose career advancement is blocked because he is not a member of the Communist party, comes to the attention of the security services after he secretly arranges for an academic paper on his new theorem to be published in an American journal. With practiced insidiousness, the Securitate start their investigation, led by Voican (Florin Piersic, Jr.), who sets about pressuring Sorins friends and colleagues to inform on him. Making a strong and engrossing addition to a body of films from the New Romanian Cinema that delve into the years of dictatorship, Andrei Gruzsniczkis low-key but quietly tense drama of compromise and betrayal re-creates the period with painstaking accuracy and captures both the atmosphere of mistrustful cautiousness and resigned discontent of its populace and the petty banality of the regimes methods of surveillance and control.
Return to Homs
Salvation Army (LArmée du salut)
Like the book its based onAbdellah Taïas own 2006 landmark novelthe Moroccan authors directorial debut is a bracing, deeply personal account of a young gay mans awakening that avoids both cliché and the trappings of autobiography. First seen as a 15-year-old, Abdellah (Saïd Mrini) habitually sneaks away from his familys crowded Casablanca home to engage in sexual trysts with random men in abandoned buildings. A decade later, we find Abdellah (now played by Karim Ait Mhand) on scholarship in Geneva, involved with an older Swiss professor (Frédéric Landenberg). With a clear-eyed approach, devoid of sentimentality, this wholly surprising bildungsfilm explores what it means to be an outsider, and with the help of renowned cinematographer Agnès Godard, Taïa finds a film language all his own: at once rigorous and poetic, worthy of Bresson in its concreteness and lucidity.
In their supremely assured debut feature, writer-directors Fabio Grassadonia and Antonio Piazza breathe new life into the time-honored genre of the Mafia thriller. While hunting down a rival who has ordered a hit on him, the titular gangster (a smoldering Saleh Bakri) invades a Palermo home, only to discover his preys blind sister, Rita (Sara Serraiocco), in the basement. The nail-biting, magnificently orchestrated game of cat-and-mouse that ensues, with its evocative use of sound, darkness, and offscreen space, sets the tone for the rest of this richly atmospheric work. When Ritas sight is restoredfrom shock or perhaps some kind of miracleSalvo is left to determine the fate of his prisoner turned love interest. Winner of the top two prizes at the 2013 Cannes Critics Week, Salvo tweaks the conventions of its genre without betraying them and, in the grand tradition of Jean-Pierre Melville, wrings blindsiding depths of emotion from the sparest of means. A Film Movement release.
Shes Lost Control
In a world of increasing layers between people, intimacy is perhaps the most elusive ingredient of human interaction. A person can either take the plunge and emotionally connect with their OS (à la Spike Jonzes Her) or, in the case of Shes Lost Control, psychotherapists can refer patients to sex surrogates. Engaging in that line of work, NYC-based Ronah (fearlessly played by Brooke Bloom) puts to use her considerable psych-studies experience, as well as her natural solicitous warmth, to engage in close but professional relationships. Until, that is, she meets Johnny, and her already fraying control dissolves the thin line between professional and personal intimacy. First-time feature director Anja Marquardt, however, never loses control, delivering a stylish, deeply unnerving, and profound film on an intangible modern issue.
A Spell to Ward Off the Darkness
As collaborators, Ben Rivers and Ben Russell, two intrepid and nomadic talents of experimental film and art, have created one of the most bewitching cinematic experiences to come along in a great while. In A Spell to Ward Off the Darkness, Robert A.A. Lowe, the celebrated musician behind Lichens and Om, gives a strangely affecting, perhaps even trance-inducing performance as the films Parsifal figure, a quixotic man who embarks on a quest for utopiathe holy grail of infinite truth, self-knowledge, and spiritual connectedness. He finds some measure of it in three seemingly disparate contexts: in a small collective community on a remote Estonian island, in isolation in the northern Finnish wilderness, and onstage fronting a black metal band in Norway. While his experience seems to be a perpetual one of home, exile, and return, for us, it is purely magical. A KimStim release.
Stop the Pounding Heart
Sara (Sara Carlson, playing herself) is part of a devout Christian goat-farming family with 12 children, all home-schooled and raised with strict moral guidance from the Scriptures. Set in a rural community that has remained isolated from technological advances and lifestyle influenceno phones, TVs, computers, or drunken-teen brawlsthe subtly narrative film follows Sara and Colby, two 14-year-olds with vastly different backgrounds who are quietly drawn to each other. In Minervinis intimate documentary-style portraitthe third in the Italian-born filmmakers Texas trilogySaras commitment to her faith is never questioned. Its the power of the directors nonintrusive handheld-camera style that reveals his protagonists spiritual and emotional inner turmoil about her place in a faith that requires women to be subservient to their fathers before becoming their husbands helpers. By also presenting an authentic, impartial portrayal of the Texas Bible Belt, Minervini allows humanity and complexity behind the stereotypes to show through.
Story of My Death (Història de la meva mort)
No one else working in movies today makes anything remotely like the Catalan maverick Albert Serra, a cerebral oddball and improbable master of cinematic antiquity. Known for his unconventional adaptations of Cervantess Don Quixote (Honor of the Knights) and the Biblical parable of the Three Kings (Birdsong), Serra here stages the 18th-century passage from rationalism to romanticism as a tussle between two figures of legend, Casanova and Dracula. Against a backdrop of candlelit conversation and earthy carnality, Serra sets in motion contrasting ideas about pleasure and desire, alternating between winding philosophical dialogue and wordless passages of savage beauty. Winner of the top prize at the 2013 Locarno Film Festival, the film is both a painterly feast for the eyes, abounding with art-historical allusions, and an idiosyncratic, self-aware revamping of the costume melodrama.
The Strange Color of Your Bodys Tears
Deepening and amplifying their super-fetishistic remix of Italian giallo and horror tropes in Amer (ND/NF 2010), Hélène Cattet and Bruno Forzani here create a delirious and increasingly baroque pastiche of the trance film and cinéma fantastiqueand then push it to breaking point. Returning home from a business trip, Dan (Klaus Tange) finds that his wife has disappeared. When the police are of no help, he begins to obsessively investigate their singular and increasingly surreal art deco apartment building in search of clues to her whereabouts. Traditional narrative dissolves into mise en abyme in this kaleidoscopic, vertiginous adventure in sound and image, sadism and eroticism, and the real and the imagined. The unwary may be shaken up by the Belgian duos overpowering and percussive stylistic shocks, but in this haunted-house movie, one things for sure: the eyes have it. A Strand Releasing release.
The Strange Little Cat (Das merkwürdige Kätzchen)
In the hands of masters like Jacques Tati, Lucrecia Martel, and Chantal Akerman, cinema that at first appears to merely observe and record is in fact masking intricately constructed commentaries, built from seemingly mundane experiences. In the case of The Strange Little Cat, an extended family-dinner gathering becomes an exquisitely layered confection ready for writer-director Ramon Zürchers razor-sharp slicing. A mother, desperately trying not to implode, and her youngest daughter, who explodes constantly, form the poles between which sons and daughters, aunts and uncles, cats and cousins weave in and around each other in the tight domestic space of a middle-class Berlin flat. Fans of Béla Tarr and Franz Kafka will find much to love, as will devotees of the Berlin School, of which this film represents a third-generation evolution. This comedic examination of the everyday has been captivating audiences since its premiere at the 2013 Berlin Film Festival. A KimStim release.
To Kill a Man
Bullying is a phenomenon that doesnt just take place in the schoolyard. In Alejandro Almendrass raw, unnerving psychological thriller, bullies and their victims live side by side in a working-class neighborhood. Passive Jorge tries to ignore the cruel taunting of some local thugs who would be considered juvenile delinquents if they werent full-grown adults. But when the worst of the bunch steals Jorges insulin syringe, and his son winds up in the hospital with a gunshot wound after attempting to get it back, Jorge and his wife seek redress legallyto no avail. The family is humiliated again and again, and when his teenage daughter is sexually threatened, Jorge, pushed over the edge, decides to take matters into his own hands. A Film Movement release.
Trap Street (Shuiyin Jie)
Notions of surveillance and observation are turned inside out in Trap Street, producer Vivian Qus first turn as a director. While surveying city streets for a digital-mapping company, engineer Qiuming catches sight of Lifen, a beautiful young woman. Immediately smitten, he follows her to a street that doesnt appear on any map or even a GPS. In between his other gigsinstalling security cameras, sweeping hotel rooms for electronic bugshe tries to get to know this alluring stranger. And he doessort of. But as he tries to learn more about her, events take on disturbing overtones, and the mystery, as well as the paranoia, deepens from there. Noir in tone, and a great representation of the newest generation of Chinese filmmakers, Trap Street is a bold story of who is really watching who that, while firmly embedded in the current cultural context of China, could happen to any one of us.
The Vanquishing of the Witch Baba Yaga
Deep in the forest, wedged in cracks in the bark and under moss-covered rocks, memories and myths are hidden. These subconscious tales and reminiscences, drawn from the natural world, inform the societies we build. Jessica Orecks fantastical work combines animation, traditional storytelling, and contemporary nonfiction filmmaking styles to recount the Slavic folktale of the frightful Baba Yaga, a witch said to live in a woodland hut perched on chicken legs who roasts her guests for dinner. But as modern conflicts and scourges encroached, and their refugees fled to the forest, the implications of her presence began to shift. An impressive contemporary allegory on progress, the past, and the power of nature.
We Come as Friends
Hubert Saupers masterful exploration of modern colonialism, with war-ravaged Sudan as a focus, offers devastating insights into the most premeditated, casually insidious ways of taking possession of Africa today. The scenarios of clueless Texan missionaries, shallow UN case workers, and Chinese oil-company CEOs living in gated communities while polluting the local drinking water are like a collage of postcards from hell. It takes a particularly gifted filmmaker to construct from these horrors something that can also engage ones sense of beauty; with an air of science fiction aided by otherworldly scenes captured from the self-manufactured flying machine in which Sauper and his co-pilot arrive in Africa, the documentarian has created an indelible and righteously alarming second film in a planned trilogy that began with the Oscar-nominated Darwins Nightmare.
Tom Shovals gripping, haunting feature debut depicts the ill-advised kidnapping scheme of two Israeli brothers (real-life siblings Eitan and David Cunio) from preparation to aftermath. With their fathers unemployment threatening the stability of their comfortable middle-class existence, older brother Yaki takes advantage of his recently acquired assault rifle, courtesy of his compulsory military service, to put into action a plan inspired equally by desperation and a lifelong diet of violent mainstream American cinema. But the brothers might have bitten off more than they can chew: its Shabbat, and their victims wealthy orthodox family wont pick up the phone to take the ransom call. This sharply observed study of familial attachment and fraternal psychology broadens into a tough-minded generational portrait that subtly addresses many aspects of contemporary Israeli life, from the role of the military to the recent economic protests to the enduring fault lines of class and gender.
ND/NF Shorts Program 1 (76 min.)
At the Door (An den Tür)
You Cant Do Everything at Once, But You Can Leave Everything at Once (Man kann nicht alles auf einmal tun, aber man kann alles auf einmal lassen)
Face in the Crowd
The Island (La isla)
ND/NF Shorts Program 2 (72 min.)
The Wild (Wildnis)
The Reaper (La Parka)
About The Film Society of Lincoln Center and The Museum of Modern Art
The Museum of Modern Arts Department of Film was established as the Film Library in 1935, and presented its first series as circulating exhibitions in 1936. The Film Department organizes over 50 film exhibitions every year, including annual programs such as To Save and Project: The MoMA International Festival of Film Preservation, Documentary Fortnight, and The Contenders. The Department also organizes exhibitions in MoMAs galleries, including Tim Burton (200910) and Dante Ferretti: Design and Construction for the Cinema (201314). The department also has an extensive archive of over 27,000 film and video works, including the worlds largest institutional collections of the works of D. W. Griffith, Andy Warhol, and Stan Brakhage. Rajendra Roy is the current Celeste Bartos Chief Curator of Film, appointed in May 2007.