New York. The Film Society of Lincoln Center has rolled out the lineup for the fifth edition of Art of the Real, “an essential showcase for the most vital and innovative voices in nonfiction and hybrid filmmaking.” The series will open on April 26 with Julien Faraut’s John McEnroe: In the Realm of Perfection, “an essayistic found-footage ode to the capricious tennis legend” (image above), and close on May 6 with the world premiere of Adam Khalil and Bayley Sweitzer’s Empty Metal, “which investigates personal politics in an apathetic world of mass surveillance and pervasive policing.”
CineVardaUtopia: The Films of Agnès Varda, Part One opens tomorrow at the Museum of the Moving Image with Vagabond (1985), “a dramatic feature that reconstructs the journey of a French drifter (Sandrine Bonnaire), who, at the film’s start, is found frozen to death,” as Ben Kenigsberg notes in the New York Times. The series, running through April 1, marks the publication of CineVardaUtopia, a book based on the symposium hosted by Reverse Shot in the fall of 2016. Meantime, the TIFF Cinematheque retrospective Radical Empathy: The Films of Agnès Varda is on through April 17 in Toronto.
On Tuesday, Olivier Barrot will deliver a thirty-minute talk prior to a screening of Jean Renoir’s French Cancan (1955) at the French Institute Alliance Française.
Chicago. Basil Dearden’s Victim (1962) “is currently streaming on the Criterion Channel, and it screens this coming Monday as part of Facets Cinematheque's free ‘teach-in’ series, with Northwestern University professor Nick Davis lecturing on the theme ‘Why Are LGBTQ+ Rights Necessary?,’” writes J. R. Jones in the Reader. “That should be a worthwhile topic, though Victim stops well short of laying down a marker in gay cinema. Screenwriters Janet Green and John McCormick take care to point out that [Melville] Farr's [Dirk Bogarde] illicit attraction to the construction worker, Boy Barrett (Peter McEnery), was never consummated . . . Farr is portrayed as a happily married man nobly fighting off his worst impulses, and at the end, he and his prim wife (Sylvia Sims) live hetero ever after. Victim may be more illuminating now for the smaller characters on the periphery, whose remarks constitute an inventory of British attitudes in a rapidly changing era.”
In conjunction with the screening, Patrick Friel dips into the Reader’s archives to find five “gay films from an era when queer themes were invisible in Hollywood.”
Denver. “Since 2003, the Noir City film festival has become a haven for thousands of noiristas basking in the glow of the past while seeing a time that never feels that far away,” writes Michael J. Casey for the Boulder Weekly. “And this year, for the first time, Noir City makes its way to the Centennial State for a weekend at the Alamo Drafthouse Littleton.” Noir City Denver 2018 is on from today through Sunday.
Paris. The fortieth Cinéma du réel opens today and runs through April 1, and desistfilm has been posting previews.
“I have always had a lot of admiration for this film festival as it unites the history of cinema with contemporary content,” artistic director Andréa Picard tells Fabien Lemercier at Cineuropa. “The challenge was to find a way to celebrate its fortieth anniversary, to pay homage to the festival’s prestigious origins (under the aegis of Jean Rouch, with Joris Ivens on one of the first juries, etc.), but also to explore in a youthful way. There are many debut films this year that I wanted to mix in with the Cinéma du réel regulars. There is a common thread running through the editorial line of the four competitions (international, French, debut films, short films), as well as a lot of medium-length films this year because it’s a very popular form these days. It’s important to find a place for films that transcend categories. We’ve also launched an anniversary publication, Qu'est-ce que le réel? (What Is real?), in which more than forty directors, thinkers, and critics address the real world, not only in cinema, but also in modern society.”
The cover of the book features a collage by Guy Maddin and contributions from—and really, they all need to be listed because this is amazing—Claire Atherton, Éric Baudelaire, Cyril Béghin, James Benning, Ruth Beckermann, Nicole Brenez, Charles Burnett, Lucien Castaing-Taylor, Luc Chessel , Patric Chiha, Pierre Creton, Bruno Dumont, Kevin Jerome Everson, Jean-Michel Frodon, Yervant Gianikian, John Gianvito, Philippe Grandrieux, Eugène Green, Joana Hadjithomas, Khalil Joreige, Lodge Kerrigan, Bani Khoshnoudi, William Klein, Nicolas Klotz, Guy Maddin, Pietro Marcello, Narimane Mari, Raya Martin, Valérie Massadian, Roberto Minervini, Luc Moullet, Cyril Neyrat, Véréna Paravel, Élisabeth Perceval, Nicolás Pereda, Nicolas Rey, Angela Ricci-Lucchi, Gianfranco Rosi, Ben Russell, Claire Simon, Deborah Stratman, Trinh T. Minh-ha, Ana Vaz, Apichatpong Weerasethakul, and Eduardo Williams.
Cannes. Artistic director Thierry Fremaux is not only banning selfies from the red carpet, he’s also “eliminating morning press screenings of films before their evening premieres,” reports Variety’s Elsa Keslassy. “Under the new plan, critics and journalists will see films in the Debussy theater at the same time that guests inside the main auditorium watch the evening world premieres . . . The change was made to boost the prestige and weight of gala premieres.” And perhaps, to give everyone a shot at tweeting their reviews as the end credits roll. The seventy-first edition of the Cannes Film Festival runs from May 8 through 19.
Riga. The first Riga International Biennial of Contemporary Art in Latvia will run from June 2 through October 28 with ninety-nine entries, “ten of which are collectives, with big names like Lynn Hershman-Leeson, Jonas Mekas, Mark Dion, and Raoul Vaneigem (yes, the Situationist theorist!) alongside quite a few lesser-known ones,” reports Andrew Russeth for ARTnews.
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