New York. “It’s an idea so good,” writes Farran Smith Nehme in the Village Voice, “you can’t believe no one did it before: a book about the deep and abiding friendship between Henry Fonda and James Stewart, true legends of Hollywood. Scott Eyman’s Hank and Jim: The Story of a Friendship shows them as struggling stage actors and roommates, traces their swift ascent to stardom, and shows how they anchored each other’s lives.” As noted yesterday, Film Forum’s companion series, Hank and Jim, is now running through November 16. The book “focuses on the actors’ personal lives; the thirty-six-film series lets you see the ebb and flow of the two careers in tandem, how the lives form parallel lines of Hollywood history.”
The new 4K restoration of Hou Hsiao-hsien’s Daughter of the Nile (1987) is at the Quad through Thursday. “Hou was already a gifted stylist by the time he made the film,” writes Ignatiy Vishnevetsky at the A.V. Club, “though he wouldn’t reach full artistic maturity until his next movie, A City of Sadness. In Daughter of the Nile, his studious mise-en-scène—which extends to the soundtrack, seasoned with semi-ironic American pop songs—is sometimes lost on the indistinct plotting and narrative continuity.”
Los Angeles. In the run-up to Kino Slang’s presentation of Jean Renoir’s The Southerner (1945) and Luis Buñuel’s The Young One (1960) at the Echo Park Film Center tonight, Andy Rector has translated a good portion of a piece on Renoir’s film written by the twenty-two-year-old Jacques Rivette for La Gazette du Cinéma in 1950:
Renoir's American films mark a definite victory for innocence; it is no longer a question of voluptuously submitting to the world of appearances, and of abandoning oneself to the object and all concreteness, to an almost animist intoxication, into a world before sin, where things are, without the intervention of a value judgment; a simpler, more clairvoyant look now judges the universe, reflects it, and gives each thing its true value, rather than the pantheistic metamorphosis of the past. Renoir has left the realm of pure existence; things are now something; love is hence lucid; the mind, free and clear.
Chicago. “One of the major cinematic events of the fall is the Rainer Werner Fassbinder retrospective at Doc Films, which runs on Sunday nights at 7pm through December 3,” writes Ben Sachs in the Reader. “The series, consisting of nine features (all showing on 35 mm), is organized in chronological order, and this allows spectators to consider Fassbinder's remarkable—and remarkably fast—evolution as it played out.” The Bitter Tears of Petra von Kant (1972), screening tomorrow, “comes from the start of Fassbinder's second period, when he married his style to a newfound interest in character. The results are deeply emotional, even overwhelming.”
For more highlights of the city’s calendar through Thursday, see this week’s Cine-List.
Cambridge. The Brattle’s presentation of Wes Craven’s A Nightmare on Elm Street (1984) on Wednesday “presents the opportunity for an interesting and somewhat queer interpretation of the film: as a symbolic battle between Nancy and her latent lesbian desires.” Christian Gay explains.
Rotterdam. The International Film Festival Rotterdam has announced a first round of titles lined up for IFFR 2018, running from January 24 through February 4. Set for the Bright Future program are:
- Ruben Desière’s La fleurière (International premiere)
- Bertrand Mandico’s Les garçons sauvages
Voices:
- Alexey Fedorchenko’s Anna’s War (European premiere)
- Constantin Popescu’s Pororoca
- Zhang Miaoyan’s Silent Mist (European premiere)
- Sean Baker’s The Florida Project
- Guillermo del Toro’s The Shape of Water
Deep Focus:
- Rustam Khamdamov’s The Bottomless Bag
- Wang Bing’s Mrs. Fang
- Grace Winter and Luc Plantier’s Marquis de Wavrin, du manoir à la jungle
Shorts and mid-length films:
- Korakrit Arunanondchai’s with history in a room filled with people with funny names 4
- Zhou Tao’s The Worldly Cave
- Ying Liang’s I Have Nothing to Say
- Artur Zmijewski’s Glimpse
Tokyo. “Japan’s largest film event by far,” the Tokyo International Film Festival, is on through Friday and, in the Japan Times, Mark Schilling sketches a brief history of the festival first staged in 1985 before turning to this year’s edition to make a few recommendations.
For news and items of interest throughout the day, every day, follow @CriterionDaily.
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