4 items from 2017
Babette Mangolte. © Fleur van Muiswinkel If the name Babette Mangolte doesn’t ring with the same familiarity as such storied French cinematographers as Raoul Coutard and William Lubtchansky, it’s not for lack of innovation or accomplishment. Born in Montmorot in 1941, Mangolte moved to New York in 1970 following a number of years as an assistant cinematographer and apprentice to director Marcel Hanoun. There she quickly integrated herself into the city’s burgeoning experimental cinema scene, befriending luminaries such as Jonas Mekas and Stan Brakhage, and soon after met a 20-year-old Chantal Akerman whom she proceeded to collaborate with on a series of groundbreaking works throughout the mid-70s. Influenced as much by structuralism as the films of the French New Wave, Mangolte and Akerman deftly utilized time and space as cinematic conduits to visually articulate themes of dislocation, alienation, and female autonomy. Their most celebrated work, the landmark feminist dispositif Jeanne Dielman, »
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, »
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.
Hitchcock, Lucas, and more are highlighted in a ’70s Universal series.
The Land Before Time plays on Saturday.
Museum of the Moving Image
- Nick Newman
Spring EquinoxOn November 10, James Benning premiered five of his latest works (thinking of red, wavelength, measuring change, Spring Equinox and Fall Equinox) at the Austrian Film Museum in Vienna, accompanied by a short response film by Michael Snow. Benning was also present for a Q&A before and between the screenings. Prompted by the pleasure as well as the discontent of the encounter with these films, we decided to engage in a dialogue that would offer us the time to interweave thoughts with as little space in between as possible.Dear Ivana,Writing to you about the new films of James Benning we have seen together at the Austrian Film Museum, I have the urge to begin with the end. It seems fitting, bearing in mind how Benning proceeds in his Spring Equinox, which I found to be the most vibrating film of the evening. Shot on a road passing »
4 items from 2017
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