{"id":12875,"date":"2019-03-15T12:56:36","date_gmt":"2019-03-15T16:56:36","guid":{"rendered":"http:\/\/hunterword.com\/?p=12875"},"modified":"2021-12-26T09:35:14","modified_gmt":"2021-12-26T14:35:14","slug":"film-society-of-lincoln-center-art-of-the-real-gwmorris","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/film-society-of-lincoln-center-art-of-the-real-gwmorris\/","title":{"rendered":"Art of the Real, April 18-28, Film Society of Lincoln Center,  Sixth Annual Nonfiction Showcase"},"content":{"rendered":"<h3><strong><span style=\"color: #800000;\">Opening Night: North American Premiere of Frank Beauvais\u2019s <i>Just Don\u2019t Think I\u2019ll Scream\u00a0<\/i><\/span><\/strong><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-10662\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2018\/08\/Film_Society_of_Lincoln_Center_logo.svg_-300x300.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"http:\/\/hunterword.com\/wp-content\/uploads\/2018\/08\/Film_Society_of_Lincoln_Center_logo.svg_-300x300.jpg 300w, http:\/\/hunterword.com\/wp-content\/uploads\/2018\/08\/Film_Society_of_Lincoln_Center_logo.svg_-150x150.jpg 150w, http:\/\/hunterword.com\/wp-content\/uploads\/2018\/08\/Film_Society_of_Lincoln_Center_logo.svg_-260x260.jpg 260w, http:\/\/hunterword.com\/wp-content\/uploads\/2018\/08\/Film_Society_of_Lincoln_Center_logo.svg_-160x160.jpg 160w, http:\/\/hunterword.com\/wp-content\/uploads\/2018\/08\/Film_Society_of_Lincoln_Center_logo.svg_.jpg 512w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><br \/>\n<strong>Highlights include new work from Andr\u00e9s Duque and Anand Patwardhan, a retrospective of Toshio Matsumoto\u2019s nonfiction work, and a tribute to late Lebanese filmmaker Jocelyne Saab<\/strong><\/p>\n<p>Art of the Real, an essential showcase for the most vital and innovative voices in nonfiction and hybrid filmmaking. The 2019 lineup features a vibrant slate of new works by internationally acclaimed filmmakers and impressive, award-winning debuts from around the world, with two world premieres, 10 North American premieres, and six U.S. premieres.<\/p>\n<p><span lang=\"EN\"><i>Just Don\u2019t Think I\u2019ll Scream:<\/i> Composed of excerpts from the 400-plus films the director watched during a period of seclusion in 2016, it\u2019s a montage that reframes otherwise incidental images into an immensely moving reflection on life, love, and loss. <\/span><\/p>\n<p><span lang=\"EN\"><em><small>From Cineuropa: The flow of images is endless, snippets of hundreds of feature films follow each other in rapid succession. For the entire duration of this found-footage essay, they illustrate the filmmaker\u2019s voiceover narration, which is akin to a diary covering the period between April and October 2016 and is equally delivered at speed. Trailer courtesy Cineuropa.<\/small><\/em><br \/>\n<\/span><\/p>\n<p><center><iframe loading=\"lazy\" src=\"https:\/\/cineuropa.org\/en\/videoembed\/367440\/rdid\/367141\/\" width=\"620\" height=\"350\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center>&nbsp;<\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"3\" width=\"80%\" \/>\n<p>&nbsp;<\/p>\n<p><span lang=\"EN\">Says Film Society Director of Programming Dennis Lim, \u201cOur sixth edition ranges widely in themes and formal approaches\u2014from epic investigations into religious violence in India and cartel murders in Mexico to intimate accounts of local myths and practices. There\u2019s even, in our opening night film, a very personal and moving account of the relationship between cinephilia and neurosis. Full of works that entangle history and memory, and the personal and the political, it\u2019s a lineup that attests to the sheer abundance and vitality of documentary modes today,\u201d\u00a0 \u201cWe\u2019re also very happy to be paying posthumous tribute to two major filmmakers\u2014Toshio Matsumoto and Jocelyne Saab\u2014whose work deserves to be much better known in the U.S.\u201d<\/span><\/p>\n<h3><span lang=\"EN\">Highlights of the festival include:<\/span><\/h3>\n<p style=\"padding-left: 40px;\"><span lang=\"EN\">North American premiere of <i>Karelia: International with Monument<\/i>, returning Art of the Real filmmaker Andr\u00e9s Duque\u2019s exploration of the mysterious forests on the Finnish-Russian border where shamanic magic and historical trauma intermingle; Julien Elie\u2019s <i>Dark Suns<\/i>, a chronicle of the cartel violence and state corruption in Mexico that has contributed to the murders of hundreds of women, journalists, students, and activists since the 1990s.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span lang=\"EN\"><strong>Also:<\/strong><i> While We Are Here<\/i>, a discreetly expanding fiction from Clarissa Campolina and Luiz Pretti that follows the relationship of two New York transplants from its origins through its aftermath; Anand Patwardhan\u2019s masterful <i>Reason<\/i>, which charts nearly a century\u2019s worth of India\u2019s ongoing violence against its own people; Paul Grivas\u2019s <i>Film Catastrophe<\/i>, which revisits the 2012 sinking of the Costa Concordia cruise liner through a mix of on-set footage from Jean-Luc Godard\u2019s <i>Film Socialisme<\/i> with civilian-shot footage from aboard the ship; Tamer Hassan &amp; Armand Yervant Tufenkian\u2019s <i>Accession<\/i>, which traces a collection of letters about the exchange of seeds in this uniquely process-based reflection on rural American life.<\/span><\/p>\n<p><strong>Also:<\/strong> Sarah J. Christman\u2019s <i>Swarm Season<\/i>, which ambitiously links the earthbound and the cosmic in its observation of a colony of endangered honeybees and a group of astronaut trainees in volcanic Hawaii; and Sebastian Brameshuber\u2019s <i>Movements of a Nearby Mountain<\/i>, a meditative portrait of a Nigerian mechanic set against the backdrop of a centuries-old iron mine in the Austrian Alps. Critical favorites from international festivals also feature strongly in this year\u2019s lineup; Kavich Neang\u2019s reflection on Phnom Penh\u2019s historic White Building <i>Last Night I Saw You Smiling<\/i> and Miko Revereza\u2019s spare yet highly personal meditation on undocumented immigrants <i>No Data Plan<\/i> bowed at Rotterdam, while Rugil\u0117 Barzd\u017eiukait\u0117\u2019s wry nature documentary <i>Acid Forest <\/i>and Nicole V\u00f6gele\u2019s portrait of a working-class Taipei community, <i>Closing Time,<\/i> premiered at the Locarno Film Festival.<\/p>\n<h3><span lang=\"EN\">Art of the Real includes a number of feature directorial debuts:<\/span><\/h3>\n<p style=\"padding-left: 40px;\"><span lang=\"EN\">Lei Lei\u2019s <i>Breathless Animals<\/i>, featuring voiceover from the director\u2019s mother accompanied by anonymous images, found footage, and repurposed photographs; <i>Erased,___Ascent of the Invisible<\/i>, an evocative and deeply personal debut from Lebanese artist Ghassan Halwani that raises powerful questions about collective memory; Ian Soroka\u2019s <i>Greetings from Free Forests<\/i>, which explores cave hideouts, unmarked graves, and archaeological sites in Southern Slovenia to unearth the buried histories of the Partisan Liberation Front.<\/span><\/p>\n<p style=\"padding-left: 40px;\"><span lang=\"EN\"><strong>Also:<\/strong> Francisco Marise\u2019s <i>To War<\/i>, a psychological portrait of a special forces veteran that combines episodes from his daily life with military archival footage and excerpts from American war movies; <i>The Game<\/i>, Marine de Contes\u2019s striking observational doc about the strange sport of wood pigeon hunting; Daniel Zimmerman\u2019s Thoreau-referencing <i>Walden<\/i>, which charts the crosslantic journey of a fir tree as it is cut down, processed, and shipped; and Igor Drlja\u010da\u2019s nonfiction debut <i>Stone Speakers<\/i>, which explores the Bosnian-born director\u2019s heritage and identity through the tourist attractions and landmarks of his homeland.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12882\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/03\/citizens-of-cosmos.jpg\" alt=\"\" width=\"583\" height=\"353\" srcset=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/03\/citizens-of-cosmos.jpg 583w, http:\/\/hunterword.com\/wp-content\/uploads\/2019\/03\/citizens-of-cosmos-300x182.jpg 300w, http:\/\/hunterword.com\/wp-content\/uploads\/2019\/03\/citizens-of-cosmos-560x339.jpg 560w, http:\/\/hunterword.com\/wp-content\/uploads\/2019\/03\/citizens-of-cosmos-260x157.jpg 260w, http:\/\/hunterword.com\/wp-content\/uploads\/2019\/03\/citizens-of-cosmos-160x97.jpg 160w\" sizes=\"auto, (max-width: 583px) 100vw, 583px\" \/><\/p>\n<p style=\"padding-left: 40px;\"><span lang=\"EN\">Art of the Real will also feature short films from both new and returning filmmakers, with highlights including the world premieres of Monika Uchiyama\u2019s <i>A New Use<\/i> and Jeamin Cha\u2019s <i>On Guard,<\/i> Anton Vidokle\u2019s <i>Citizens of the Cosmos<\/i>, Natalia Mar\u00edn\u2019s <i>Julio Iglesias\u2019s House<\/i>, Art of the Real and Projections alum Eric Baudelaire\u2019s <i>Walked the Way Home<\/i>, and Elena L\u00f3pez Riera\u2019s Locarno-winning <i>Those Who Desire. <\/i><\/span><\/p>\n<p style=\"padding-left: 40px;\"><span lang=\"EN\">In addition to these new works, Art of the Real will pay tribute to the late filmmakers Jocelyne Saab and Toshio Matsumoto. Known for her poetic vision and mastery of the essay film form, Lebanese filmmaker Jocelyne Saab was trained as a radio and television journalist before turning to documentary. In recognition of her contributions to documentary cinema, Art of the Real will screen her impressionistic Beirut trilogy, comprised of <i>Beirut, Never Again<\/i>, <i>Letter from Beirut<\/i>, and <i>Beirut My City<\/i>. The festival will also recognize the nonfiction works of Japanese avant garde filmmaker and critic Toshio Matsumoto, whose radical experimentation in documentary, narrative cinema, and video art produced a deeply rigorous, expansive, and electrifying body of work. The tribute will include two shorts programs dedicated to his experimental and documentary films, as well as his feature-length masterpieces <i>Funeral Parade of Roses<\/i> and <i>Demons<\/i>. <\/span><\/p>\n<p><span lang=\"EN\">This year, Art of the Real is proud to continue its collaboration with curated streaming platform MUBI. A selection of titles from the 2019 program will be featured on MUBI following their presentation at the festival. Details on the films and schedule will be announced at a later date. <\/span><\/p>\n<p><i><span lang=\"EN\">Organized by Dennis Lim and Rachael Rakes.<\/span><\/i><\/p>\n<p><span lang=\"EN\">Tickets go on sale Friday, March 29, and are $15; $12 for students, seniors (62+), and MUBI subscribers; and $10 for Film Society members. See more and save with a 3+ film discount package and All-Access Pass. Plus, our student offerings continue with a specially priced $50 Student All-Access Pass. Learn more at <\/span><span lang=\"EN\"><a href=\"https:\/\/mail.hunter.cuny.edu\/owa\/redir.aspx?C=fEYrxapuHEq2P0JSbsg_AjIqvSco1fP4MBgCI4BOPWgLezeTyKjWCA..&amp;URL=http%3a%2f%2femail.wordfly.com%2fclick%3fsid%3dNTU1XzExMDMwXzQ2MzcyXzcxOTY%26l%3da5f0d9fa-8946-e911-a31f-e61f134a8c87\" target=\"_blank\" rel=\"noopener noreferrer\">filmlinc.org<\/a>. <\/span><\/p>\n<p><span lang=\"EN\">\u00a0<\/span><\/p>\n<h1 align=\"center\"><span lang=\"EN\"><b>FILMS &amp; DESCRIPTIONS<\/b><\/span><i><\/i><\/h1>\n<p align=\"center\"><i><span lang=\"EN\">All screenings will take place in the\u00a0<\/span><\/i> <i><span lang=\"EN\">Elinor Bunin Munroe Film Center (144 West 65<sup>th<\/sup> St.)\u00a0<\/span><\/i><i><span lang=\"EN\">\u00a0unless otherwise noted.<\/span><\/i><\/p>\n<p><b><span lang=\"EN\"><span style=\"color: red;\">Opening Night<\/span><br \/>\n<\/span><\/b><b><span lang=\"EN\">Just Don\u2019t Think I\u2019ll Scream \/ Ne croyez surtout pas que je hurle<br \/>\n<\/span><\/b><b><span lang=\"EN\">Frank Beauvais, France, 2019, 75m<br \/>\n<\/span><\/b><b><span lang=\"EN\">French with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Frank Beauvais\u2019s intimate essay film assembles excerpts from the 400-plus films the French director watched over a four-month period of seclusion in 2016. On the soundtrack, Beauvais speaks of the breakup that led to his retreat, the estranged father with whom he bonded over cinema just before his death, and the symptoms of our current cultural climate that make pressing on an act of resistance. Beauvais\u2019s montage\u2014comprised of both international classics and obscurities\u2014alights upon small but specific details, reframing otherwise incidental images into an indelible and immensely moving reflection on life, love, and loss.<br \/>\n<b><span lang=\"EN\">Thursday, April 18, 7:00pm &amp; 9:15pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Accession<br \/>\n<\/span><\/b><b><span lang=\"EN\">Tamer Hassan &amp; Armand Yervant Tufenkian, USA, 2018, 48m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Shooting for more than five years in 13 locations around the U.S., Tamer Hassan and Armand Yervant Tufenkian trace a collection of letters to the homes where each was sent or received in this uniquely process-based documentary. The letters, written to accompany seed packets sent between friends and families and dated as far back as 1806, are read aloud by individual narrators, unfolding as personal-poetic reflections on life and labor in rural America. Via a variety of 16mm film stocks, <i>Accession<\/i> maps a visual and aural correspondence between anonymous people and places with an exploratory flair.<\/p>\n<p><i><span lang=\"EN\">Preceded by:<br \/>\n<\/span><\/i><b><span lang=\"EN\">A New Use<br \/>\n<\/span><\/b><b><span lang=\"EN\">Monika Uchiyama, Japan\/USA, 2018, 24m<br \/>\n<\/span>World Premiere<br \/>\n<\/b>Monika Uchiyama\u2019s observational study of her family\u2019s Tokyo-based wax factory captures the love and labor involved in the production and sustainability of handmade goods across generations.<br \/>\n<b><span lang=\"EN\">Monday, April 22, 6:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Acid Forest \/ R\u016bg\u0161tus mi\u0161kas<br \/>\n<\/span><\/b><b><span lang=\"EN\">Rugil\u0117 Barzd\u017eiukait\u0117, Lithuania, 2018, 63m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Lithuanian, English, German, French, Spanish, Finnish, Japanese, Russian, Chinese, Mandarin, and Estonian with English subtitles<\/span><\/b><span lang=\"EN\"><b><br \/>\n<\/b><\/span>This wry reinvention of the nature documentary spies upon the local fauna of Lithuania\u2019s Curonian Spit, observing from the same remove the cormorants who nest there and the human tourists who come to puzzle at their curious existence. What looks like a gray, apocalyptic wasteland on Lithuania\u2019s otherwise scenic Baltic coastline\u2014denuded of foliage by the birds\u2019 highly acidic defecations\u2014becomes a Rorschach blot for passing human visitors from all over the world, whose wildly divergent speculations about the cormorants and their habitat comically reveal the human species\u2019 own ambivalent relationship with the natural world.<\/p>\n<p><i><span lang=\"EN\">Preceded by:<br \/>\n<\/span><\/i><b><span lang=\"EN\">Citizens of the Cosmos<br \/>\n<\/span><\/b><b><span lang=\"EN\">Anton Vidokle, USA, 2019, 31m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Japanese with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>U.S. Premiere<br \/>\n<\/b><\/span>Based on a 1922 manifesto by Ukrainian anarchist Alexander Svyatogor, the latest from artist Anton Vidokle transposes Russian cosmism to present-day Japan. Through a combination of song, speech, and interpretive dance, Svyatogor\u2019s notions of mysticism and immortality find intriguing new resonances.<br \/>\n<b><span lang=\"EN\">Wednesday, April 24, 8:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Breathless Animals<br \/>\n<\/span><\/b><b><span lang=\"EN\">Lei Lei, China, 2019, 68m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Mandarin with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>In Chinese filmmaker Lei Lei\u2019s first feature, the director\u2019s mother speaks in voiceover about her parents, the trials and tribulations of her youth, Maoist China, and violent dreams of animals fueled by late nights in front of the television. Accompanying these recollections, which drift across the soundtrack, are anonymous still and moving images, found footage, and repurposed photographs, occasionally made to skip, stutter, or slow through analog animation techniques. As memories weave through material evidence of the past, ruptures emerge in the film\u2019s construction, calling upon the mind\u2019s eye to fill in the gaps of history.<br \/>\n<b><span lang=\"EN\">Saturday, April 27, 4:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Closing Time<br \/>\n<\/span><\/b><b><span lang=\"EN\">Nicole V\u00f6gele, Germany\/Switzerland, 2018, 116m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Min Nan with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>U.S. Premiere<br \/>\n<\/b><\/span>At a curbside eatery in Taipei, Mr. Kuo and his wife, Mrs. Lin, cook late into the evening for the city\u2019s night owls. As locals, laborers, and passersby alike stop in for warm bowls of rice, a portrait of a community slowly takes shape through overheard conversations and the routines of the restaurant. Filming patiently and with an unobtrusive hand, the Swiss-born Nicole V\u00f6gele takes a holistic approach to her subject, observing with a thoughtful distance the goings-on in front of and behind the counter, and in the process vividly captures a working-class milieu rarely seen on screen.<br \/>\n<b><span lang=\"EN\">Thursday, April 25, 8:45 pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Dark Suns \/ Soleils Noirs<br \/>\n<\/span><\/b><b><span lang=\"EN\">Julien Elie, Canada, 2018, 152m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Spanish with English subtitles<br \/>\n<\/b><\/span>Shot in stark monochrome, <i>Dark Suns <\/i>chronicles the hundreds of murders of women, journalists, students, and activists in Mexico since the 1990s, and the insidious culture of cartel violence and state corruption behind them. Spanning the notorious femicides in Ciudad Ju\u00e1rez at the northern border to the murders of journalists in Veracruz in the south, director Julien Elie draws on the testimony of determined investigators, family members, journalists, priests, lawyers, and activists, tracing a path of organized and unpunished criminality that involves drug and human trafficking, extortion, kidnapping, and collusion with the governments on both sides of the border.<br \/>\n<b><span lang=\"EN\">Saturday, April 27, 1:00pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Erased,___Ascent of the Invisible \/ Tirss, Rihlat Alsoo\u2019oud ila Almar\u2019i<br \/>\n<\/span><\/b><b><span lang=\"EN\">Ghassan Halwani, Lebanon, 2018, 74m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Arabic and English with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Lebanese artist Ghassan Halwani\u2019s debut feature is an evocative, procedural investigation of the thousands of people who were disappeared in Beirut throughout the Lebanese Civil War. Nimbly deploying a range of media\u2014including performance art, photoshopped photography, and hand-drawn animation\u2014Halwani crossbreeds narrative and nonfiction devices to arrive at something deeply personal yet morally pertinent. <i>Erased,___Ascent of the Invisible<\/i> methodically raises powerful, uncompromising questions about the right to live (or to be \u201cofficially\u201d killed), and the means by which a nation\u2019s collective memory shaves away one\u2019s sense of past and present.<br \/>\n<b><span lang=\"EN\">Saturday, April 27, 6:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Film Catastrophe<br \/>\n<\/span><\/b><b><span lang=\"EN\">Paul Grivas, France, 2018, 55m<br \/>\n<\/span><\/b><b><span lang=\"EN\">French with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>In 2012, the Costa Concordia cruise liner sank off the coast of Tuscany, killing 32 people. In <i>Film Socialisme<\/i> (2010), the ship served as an allegorical vessel for Jean-Luc Godard\u2019s pointed political critique. In <i>Film Catastrophe<\/i>, director, actor, and <i>Film Socialisme<\/i> co-cinematographer Paul Grivas revisits the events by combining on-set footage of the Godard film and civilian-shot footage captured aboard the Concordia as it ran aground. Made in the spirit of Godard\u2019s frequent companion pieces to his own features, this \u201canatomy of a disaster\u201d reanimates the ship\u2019s ghostly aura and offers precious insight into Godard\u2019s process.<\/p>\n<p><i><span lang=\"EN\">Preceded by:<br \/>\n<\/span><\/i><b><span lang=\"EN\">Cairo Affaire<br \/>\n<\/span><\/b><b><span lang=\"EN\">Mauro Andrizzi, Argentina, 2019, 25m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>In this amateur espionage thriller, three tales of suspense and conspiracy in the Middle East are communicated through on-screen text. Employing both found and original footage shot in Cairo, Tehran, and Yemen, director Mauro Andrizzi distills real-world anxieties into a gripping reflection on cinematic storytelling.<br \/>\n<b><span lang=\"EN\">Saturday, April 20, 1:00pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">The Game \/ Les Proies<br \/>\n<\/span><\/b><b><span lang=\"EN\">Marine de Contes, France, 2018, 53m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>French and Occitan with English subtitles<br \/>\n<\/b><\/span>In this strikingly photographed work of observational nonfiction, director Marine de Contes studies the strange sport of wood pigeon hunting. Deep in France\u2019s Landes forest, a group of gamesmen jerry-rig a complex system of pulleys, tunnels, platforms, and cages; as they patiently await their prey, conversations highlight the cultural and familial traditions still honored by the practice, even as the distant sound of falling trees signals its imminent demise. With close observation, de Contes captures a dying ritual with care and curiosity.<\/p>\n<p><i><span lang=\"EN\">Preceded by:<br \/>\n<\/span><\/i><b><span lang=\"EN\">So Dear, So Lovely<br \/>\n<\/span><\/b><b><span lang=\"EN\">Diana Allan, Canada\/Lebanon, 2019, 23m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Arabic with English subtitles<br \/>\n<\/b><\/span>In this two-part tour through the streets of Lebanon, a colorful Palestinian cab driver offers offhand insight into the region\u2019s fraught political and social climate through boisterous serenades and excitable outbursts.<br \/>\n<b><span lang=\"EN\">Friday, April 26, 6:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><span lang=\"EN\"><b>Greetings from Free Forests \/ Lep pozdrav iz svobodnih gozdov<\/b><br \/>\n<\/span><b><span lang=\"EN\">Ian Soroka, Slovenia\/USA\/Croatia, 2018, 98m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Slovenian with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Underground resistance is made literal in Ian Soroka\u2019s debut feature, which excavates the buried histories of the Partisan Liberation Front, who resisted the Fascist occupation of Yugoslavia during World War II. Through rich landscape cinematography, haunted archival images, and the vivid testimonials of local hunters, foresters, tour guides, and historians, the film traces the hidden historical currents beneath Southern Slovenia\u2019s verdant terrain, exploring cave hideouts, quarries, archaeological sites, unmarked graves, and even a subterranean bunker that became a film archive.<br \/>\n<b><span lang=\"EN\">Saturday, April 21, 1:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Karelia: International with Monument \/ Carelia, internacional con monumento<br \/>\n<\/span><\/b><b><span lang=\"EN\">Andr\u00e9s Duque, Spain, 2019, 90m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Russian with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span><i><span lang=\"EN\">Karelia: International with Monument <\/span><\/i>explores the mysterious forests of a remote territory on the Finnish-Russian border, an idyllic setting where shamanic magic and the historical trauma of Stalin\u2019s purges intersect. With his expressive, inquisitive camerawork and a deliriously idiosyncratic approach to montage, Andr\u00e9s Duque (<i>Oleg and the Rare Arts<\/i>, Art of the Real 2016) observes local customs, plays with children in the woods, and follows the fraught efforts to commemorate the purges\u2019 forgotten victims, creating a wild, hallucinatory portrait of a place that still bears the traces of ancient folkloric custom\u2014and the wounds of the past.<br \/>\n<b><span lang=\"EN\">Tuesday, April 23, 8:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Last Night I Saw You Smiling \/ Yub Menh Bong Keunh Oun Nho Nhim<br \/>\n<\/span><\/b><b><span lang=\"EN\">Kavich Neang, Cambodia, 2019, 75m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Khmer with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Once a thriving artist community and cultural hub, Phnom Penh\u2019s historic White Building has been sold to Japanese condo developers, displacing nearly 500 families. Born and raised in the building, filmmaker Kavich Neang returns to interview friends, neighbors, and family as they prepare to uproot, stirring up the dust and memories that have accumulated in the building\u2019s walls. As longtime residents somberly reflect on their old home and its imminent destruction, summoning memories of Cambodia\u2019s post-independence golden age and of similar evictions during the Khmer Rouge, Neang captures the serene light and music its storied hallways one last time.<br \/>\n<b><span lang=\"EN\">Sunday, April 28, 4:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Movements of a Nearby Mountain \/ Bewegungen eines nahen Bergs<br \/>\n<\/span><\/b><b><span lang=\"EN\">Sebastian Brameshuber, Austria\/France\/Nigeria, 2019, 86m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Igbo, German, and English with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>At the foot of the Austrian Alps, a Nigerian mechanic works in a garage, repairing and exporting cars to his homeland. In the distance is Erzberg, a mountain that\u2019s been mined for iron ore since Ancient Rome. Against this backdrop, the mechanic toils away in relative solitude, his routine labor standing in stark contrast to the resources being mined for capitalist gain in his periphery. A result of director Sebastian Brameshuber\u2019s friendship with the film\u2019s real-life subject and framed around a centuries-old legend of the mine\u2019s mysterious creation, <i>Movements of a Nearby Mountain<\/i> commingles fact and fiction, myth and memory, in a meditation on man\u2019s place in our globalist economy.<br \/>\n<b><span lang=\"EN\">Friday, April 19, 8:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">No Data Plan<br \/>\n<\/span><\/b><b><span lang=\"EN\">Miko Revereza, USA, 2019, 70m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>English and Tagalog with English subtitles<br \/>\n<\/b><\/span>A cross-country journey from Los Angeles to New York\u2014captured in images of transit zones and passenger-train interiors\u2014serves as the backdrop to this highly personal reflection on the experience of undocumented people in ICE-age America. In his film, riveting in its spareness and attention to banal detail, director Miko Revereza pairs off-hand, observational images of colorless non-places and flat, empty landscapes with stark subtitles that unfold the fraught story of an affair between his mother and a much younger man. These disembodied voices summon images and memories of the Philippines, his family\u2019s country of origin.<br \/>\n<b><span lang=\"EN\">Friday, April 19, 6:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Reason \/ Vivek<br \/>\n<\/span><\/b><b><span lang=\"EN\">Anand Patwardhan, India, 2019, 261m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Hindi with English subtitles<br \/>\n<\/b><\/span>An epic chronicle of India\u2019s ongoing violence against its own people, Anand Patwardhan\u2019s masterfully assembled documentary charts nearly a century\u2019s worth of caste-related persecution carried out in the name of nationalist and religious ideology. Stretching from the assassination of Mahatma Gandhi to the more recent deaths of Narendra Dabholkar and Govind Pansare, <i>Reason <\/i>provides a detailed account of the controversies surrounding the murders of many figures associated with the country\u2019s \u201cuntouchable\u201d Dalit caste, before exploring the community\u2019s current-day protests and the acts of terrorism that have multiplied as a result of the country\u2019s fall from democracy.<br \/>\n<b><span lang=\"EN\">Saturday, April 20, 3:15pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">The Stone Speakers \/ Kameni Govornici<br \/>\n<\/span><\/b><b><span lang=\"EN\">Igor Drlja\u010da, Canada\/Bosnia and Herzegovina, 2018, 92m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Bosnian, Serbian, Croatian, and English with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>U.S. Premiere<br \/>\n<\/b><\/span>In Igor Drlja\u010da\u2019s first nonfiction feature, the Bosnian-born director explores his home country\u2019s heritage and identity through the attractions and landmarks that in recent years have drawn visitors from across the globe. With grace and agility, the film\u2019s camera crisscrosses the landscape, quietly observing tourists as they view statues, pyramids, and various religious sites, each tied to a self-styled, postwar ideology the country hopes to reinforce through the Balkan tourism boom. In <i>The Stone Speakers<\/i>, myth and memory share space in both the physical world and the collective unconscious, highlighting the danger of culturally prescribed narratives.<br \/>\n<b><span lang=\"EN\">Monday, April 22, 8:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Swarm Season<br \/>\n<\/span><\/b><b><span lang=\"EN\">Sarah J. Christman, USA, 2019, 85m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>U.S. Premiere<br \/>\n<\/b><\/span>In the shadow of Hawaii\u2019s Mauna Kea volcano, a young girl and her mother lovingly breed a colony of bees. Meanwhile, as their activist father and husband protests the construction of a giant telescope on the mountain\u2019s sacred ground, a group of scientists study the landscape in preparation for our inevitable relocation to Mars. Ambitiously linking the earthbound and the cosmic, the intimate and the expansive, director Sarah J. Christman tracks these existentially fraught narratives with an acute attention to time, scale, and historical consequence. As her monumental images gather force, <i> Swarm Season<\/i> takes on a potent allegorical dimension.<br \/>\n<b><span lang=\"EN\">Wednesday, April 24, 6:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">To War \/ Para la guerra<br \/>\n<\/span><\/b><b><span lang=\"EN\">Francisco Marise, Argentina\/Spain\/Portugal\/Panama, 2018, 65m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Spanish with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Living alone in rural Cuba, special forces veteran Andr\u00e9s Rodr\u00edguez Rodr\u00edguez maintains his former training regimen: calisthenics, camouflage, and tactical combat exercises. Haunted by memories of the Angolan and Nicaraguan wars, he channels his trauma through his aging but still active body, and seeks comfort by phoning the families of former comrades. Pairing episodes from Andr\u00e9s\u2019s day-to-day life with military-related archival footage and excerpts from American war movies, this psychological portrait from first-time director Francisco Marise brings the past to bear on the present in visceral fashion.<\/p>\n<p><span lang=\"EN\"><i>Preceded by:<br \/>\n<\/i><\/span><b><span lang=\"EN\">Gulyabani<br \/>\n<\/span><\/b><b><span lang=\"EN\">G\u00fcrcan Keltek, Netherlands\/Turkey, 2018, 34m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Turkish with English subtitles<br \/>\n<\/b><\/span>In G\u00fcrcan Keltek\u2019s mesmerizing short, an ostracized clairvoyant recalls traumatic episodes from her past through diary entries and letters to her estranged son. Accompanied by ominous images of the Turkish landscape and unsettling music cues, her words reflect, painfully and poetically, on a lineage of violence left largely unacknowledged.<br \/>\n<b><span lang=\"EN\">Sunday, April 28, 6:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">While We Are Here \/ Enquanto estamos aqui<br \/>\n<\/span><\/b><b><span lang=\"EN\">Clarissa Campolina &amp; Luiz Pretti, Brazil, 2019, 75m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Portuguese, English, French, and Arabic with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>U.S. Premiere<br \/>\n<\/b><\/span>Charting a relationship from its origins through its aftermath, <i>While We Are Here<\/i> follows the lives of Lamis, a Lebanese woman, and a Brazilian man named Wilson, who one day meet while living in New York. In alternating voiceover, the pair reflect on their impressions of the city, their courtship, and their eventual separation, as vivid images of urban and rural life trace Lamis and Wilson\u2019s individual paths from New York to Berlin and Brazil, respectively. Equal parts diary film, travelogue, and epistolary drama, this discreetly expanding fiction from partners Clarissa Campolina and Luiz Pretti captures the beauty and fragility of love and its memory.<br \/>\n<b><span lang=\"EN\">Thursday, April 25, 6:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Walden<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Daniel Zimmermann, Switzerland\/Austria, 2018, 106m<br \/>\n<\/b><\/span>An intrepid display of formalist filmmaking, this Thoreau-referencing feature charts a fir tree\u2019s journey from the Austrian countryside to the Brazilian rainforest. Comprised entirely of 360-degree sequence shots, <i>Walden<\/i> visually maps a course from forest to city to sea, methodically surveying each location along the way. As the tree is cut down, processed into lumber, and transported by train, truck, and cargo ship across the Atlantic, director Daniel Zimmermann highlights the relative value and consequence of globalized trade and man\u2019s place within the larger ecosystem.<br \/>\n<b><span lang=\"EN\">Friday, April 26, 8:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<h3 style=\"text-align: center;\"><b><u><span lang=\"EN\">Shorts Program<\/span><\/u><span lang=\"EN\"> (TRT: 81m)<\/span><\/b><\/h3>\n<p style=\"text-align: left;\"><b><span lang=\"EN\"><br \/>\n<\/span><\/b><b><span lang=\"EN\">Julio Iglesias&#8217;s House \/ La Casa De Julio Iglesias<br \/>\n<\/span><\/b><b><span lang=\"EN\">Natalia Mar\u00edn, Spain, 2018, 13m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>U.S. Premiere<br \/>\n<\/b><\/span>Mar\u00edn&#8217;s schematic, clever essay film about a Shanghai municipality\u2019s attempt to build a replica Spanish town is an atypical investigation into the concepts of globalization, housing, and repetition, taking as its inspiration Vil\u00e9m Flusser&#8217;s thought that &#8220;we will no longer understand the world through written lines, but through imagined surfaces.&#8221;<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Walked the Way Home<br \/>\n<\/span><\/b><b><span lang=\"EN\">Eric Baudelaire, France\/Italy, 2018, 26m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>North American Premiere<br \/>\n<\/b><\/span>Initiated by the song written by the American composer Alvin Curran, Baudelaire&#8217;s ominous film charts an itinerary through Europe&#8217;s normalized state of armed surveillance. Employing slow motion and vertical video footage, Baudelaire observes armed soldiers as they patrol the streets of various European cities in this reflection on the power structures of modern life<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Those Who Desire \/ Los que desean<br \/>\n<\/span><\/b><b><span lang=\"EN\">Elena L\u00f3pez Riera, Switzerland\/Spain, 2018, 24m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Spanish with English subtitles<br \/>\n<\/b><\/span>The formalities of courtship and traditional masculinity are acutely observed in this portrait of \u201ccolombiculture,\u201d a male-dominated pigeon breeding competition that takes place in the director\u2019s home region of Orihuela, Spain. Winner of the Pardino d\u2019oro for Best Swiss short film at the 2018 Locarno Film Festival.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">On Guard \/ Bo-cho-seo-neun Sa-ram<br \/>\n<\/span><\/b><b><span lang=\"EN\">Jeamin Cha, South Korea, 2018, 18m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Korean with English subtitles<br \/>\n<\/span><\/b><span lang=\"EN\"><b>World Premiere<br \/>\n<\/b><\/span>The symmetry of security guarding and caretaking are carefully tracked in this sly hybrid that breaks both jobs\u2019 repetitive rules down to a series of trivial and mysterious events, highlighting a tacit apprehension that fuels both occupations.<br \/>\n<b><span lang=\"EN\">Saturday, April 21, 4:15pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><strong><u><span lang=\"EN\">Tribute to Jocelyne Saab: The Beirut Trilogy<\/span><\/u><\/strong><span lang=\"EN\"><b> (TRT: 118m)<br \/>\n<\/b><\/span><\/p>\n<p>Lyrical and uncompromising, the films of Jocelyne Saab (1948-2019) are at once landmark works of Lebanese cinema and masterpieces of the essay film form. Her films\u2019 poetic voiceovers recall Chris Marker, and her fragmented, diaristic images are reminiscent of Jonas Mekas. But Saab\u2019s poetic vision, and her intimate interactions with the displaced, the exiled, and the voiceless, mark her films as uniquely her own. Trained as a radio and television journalist, Saab turned her attention to documentary films in the wake of the Lebanese Civil War. Her epic, impressionistic trilogy of documentaries about Beirut that followed captures a city at once wounded, mournful, and bristling with life and energy, chronicling a moment at which \u201ca kind of bitter poetry has replaced the carelessness of the past.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Beirut, Never Again<br \/>\n<\/span><\/b><b><span lang=\"EN\">France, 1976, 35m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>French with English subtitles<br \/>\n<\/b><\/span>Gunfire and song mix with a poetic voiceover written by the Lebanese writer and painter Etel Adnan in what would become the first entry in Saab\u2019s \u201cBeirut trilogy,\u201d which searches for traces of life amid the bombed-out buildings and errant fires of a ghost city, where even the children have become soldiers, looters, and scavengers.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Letter from Beirut<br \/>\n<\/span><\/b><b><span lang=\"EN\">France, 1978, 48m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>French with English subtitles<br \/>\n<\/b><\/span>Dreamlike, melancholy, and cautiously hopeful, this epistolary film finds Saab returning to a Beirut that has irrevocably changed, where she wanders the streets, rides buses, chats with refugees and peacekeepers, and reflects on the war\u2019s toll during a brief moment of peace.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Beirut My City<br \/>\n<\/span><\/b><b><span lang=\"EN\">France, 1982, 35m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>French with English subtitles<br \/>\n<\/b><\/span>Considered by Saab to be her most important film, <i>Beirut My City<\/i> returns Saab and her collaborator, the playwright and director Roger Assaf, to the shell of her former home following Israel\u2019s 1982 invasion, finding small glimmers of hope in the chaos of refugee camps and the rubble of decimated neighborhoods.<br \/>\n<b><span lang=\"EN\">Sunday, April 28, 1:30pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><u><span lang=\"EN\"><b>Toshio Matsumoto<br \/>\n<\/b><\/span><\/u>The filmmaker and critic Toshio Matsumoto (1932-2017) was both a pioneer of experimental cinema and video art in Japan and a highly influential theorist, challenging the conventions and exploring the boundaries of documentary art, avant-garde film, and narrative cinema alike. From his collaborations with the collective Jikken Kobo (Experimental Workshop) in the late 1950s, through his expressive \u201cneo-documentarist\u201d and electrifying expanded cinema experiments of the 1960s, to his radical appropriation of emerging video technologies in the 1970s and \u201980s, Matsumoto\u2019s efforts to reinvent the moving image at the molecular level resulted in one of the most rigorous and expansive bodies of work in the cinema.<\/p>\n<p>&nbsp;<\/p>\n<h3 style=\"text-align: center;\"><b><u><span lang=\"EN\">Matsumoto Experimental Shorts Program<\/span><\/u><span lang=\"EN\"> (TRT: 47m)<br \/>\n<\/span><\/b><b><\/b><\/h3>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Vibration<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1984, 3m<br \/>\n<\/b><\/span>A flicker film made using only intense shock-zooms, <i>Vibration <\/i>is one of a series of films Matsumoto made in the 1980s that explored proprioception through a mixture of minimalist effects and modernist architecture<i>.<\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Delay Exposure<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1984, 3m<br \/>\n<\/b><\/span>Set to a soundtrack of pulsing synth bleats, <i>Delay Exposure<\/i> rhythmically deploys a low-tech, in-camera tricks\u2014including lens-flares, whip-pans, and rapid, strobing exposure shifts\u2014to builds an affective sense of place and architecture.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Shift<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1982, 10m<br \/>\n<\/b><\/span>In <i>Shift<\/i>, Matsumoto utilizes early digital video effects to transform architectural structures into cascading geometric waves and impossibly bubbling surfaces.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Metastasis<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1971, 8m<br \/>\n<\/b><\/span>This mesmerizing portrait of a toilet was created with an electronic color processor developed for science and medical imaging, resulting in a rhythmic study of color and form with a score by the composer Toshi Ichiyanagi.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Atman<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1975, 11m<br \/>\n<\/b><\/span>Named after the Sanskrit word for the inner soul, <i>Atman<\/i> frames a masked demon amid a discolored blood-red trees and sick-green landscape through hundreds of quick zooms and reframings, resulting in one of Matsumoto\u2019s most thorough destabilizations of perception.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">For the Damaged Right Eye<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1968, 12m<br \/>\n<\/b><\/span>An explosive reworking of <i>Funeral Parade of Roses<\/i>, combined with animation, found footage, and a battery of expanded cinema techniques including multiple projections, <i>For the Damaged Right Eye<\/i>\u2019s blistering pop collage of psychedelic image manipulations and discordant sonic mashups is true to its title: a violent assault on the senses.<br \/>\n<b><span lang=\"EN\">Tuesday, April 23, 7:00pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<h3 style=\"text-align: center;\"><b><u><span lang=\"EN\">Matsumoto Documentary Shorts Program<\/span><\/u><span lang=\"EN\"> (TRT: 90m)<br \/>\n<\/span><\/b><b><\/b><\/h3>\n<p><b><span lang=\"EN\">The Weavers of Nishijin<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1961, 26m<br \/>\n<\/b><\/span>Matsumoto\u2019s sumptuous short film about Kyoto\u2019s traditional textile district combines an almost Vertovian sense of movement and montage with the filmmaker\u2019s own notion of \u201cneo-documentarism\u201d\u2014observational cinema from a foregrounded and highly expressive point-of-view<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">The Song of Stone<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1963, 24m<br \/>\n<\/b><\/span>Comprising dozens of dynamically animating still photographs, this documentary about the quarries of Shikoku Island brings both the stones and the masons to life with the help of a percussive <i>musique concr\u00e8te <\/i>score by Kuniharu Akiyama, made using sounds of chisels striking granite.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Mothers \/ Haha-tachi<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japan, 1967, 40m<br \/>\n<\/b><\/span>Written by the avant-garde filmmaker and playwright Sh\u016bji Terayama, <i> Mothers<\/i> offers a comparative study of different ideas about maternity around the globe.<br \/>\n<b><span lang=\"EN\">Saturday, April 21, 6:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Funeral Parade of Roses \/ Bara no s\u00f4retsu<br \/>\n<\/span><\/b><b><span lang=\"EN\">Japan, 1969, 105m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japanese and English with English subtitles<br \/>\n<\/b><\/span>A monumental work of queer cinema that loosely adapts <i>Oedipus Rex <\/i> to the radical subcultures of 1960s Japan, <i>Funeral Parade of Roses <\/i>follows Eddy, a trans woman (the debut role of famed entertainer Peter) as she navigates both Tokyo\u2019s gay-bar demimonde and its revolutionary student movement. Visceral and discordant in style and politics, Matsumoto\u2019s masterpiece takes on a breathlessly inventive queer aesthetic, hybridizing Sirkian melodrama, sexploitation movie luridness, talking-head testimonials, bratty New Wave\u2013isms, and a barrage of experimental film techniques into a dizzying, stroboscopic dreamscape.<br \/>\n<b><span lang=\"EN\">Saturday, April 27, 9:00pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Demons \/ Shura<br \/>\n<\/span><\/b><b><span lang=\"EN\">Japan, 1971, 35mm, 134m<br \/>\n<\/span><\/b><span lang=\"EN\"><b>Japanese with English subtitles<br \/>\n<\/b><\/span>Matsumoto\u2019s minimalist and relentlessly grim second feature marries elements of horror film, noir, and <i>jidai-geki <\/i>to present a dark vision of fate and the depths of human nature. Adapted from a 19th-century kabuki play and shot in inky monochrome, <i>Demons<\/i> unfolds the twisty tale of a wronged ronin who unleashes an infernal force of cruelty in his quest for vengeance. Grisly, shocking, and furiously nihilistic, the film is another example of the director\u2019s reinvention of narrative genres through characteristically jagged montage and exhilarating experimental flourishes.<br \/>\n<b><span lang=\"EN\">Saturday, April 20, 8:45pm<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><b><u><span lang=\"EN\">FILM SOCIETY OF LINCOLN CENTER<\/span><\/u><\/b><span lang=\"EN\"><br \/>\nThe Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema and enriching film culture. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including\u00a0<i>Film Comment<\/i>, the U.S.\u2019s premier\u00a0magazine\u00a0about films and film culture,\u00a0the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as <\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This year\u2019s Opening Night selection is the North American premiere of Frank Beauvais\u2019s intimate essay film, Just Don\u2019t Think I\u2019ll Scream. Composed of excerpts from the 400-plus films the director watched during a period of seclusion in 2016, it\u2019s a montage that reframes otherwise incidental images into an immensely moving reflection on life, love, and loss. <\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"http:\/\/hunterword.com\/index.php\/film-society-of-lincoln-center-art-of-the-real-gwmorris\/\">Read more &rarr;<\/a><\/p>\n","protected":false},"author":29,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[1095,732,1096],"class_list":["post-12875","post","type-post","status-publish","format-standard","hentry","category-archives","tag-art-of-the-real","tag-film-society-of-lincoln-center","tag-frank-beauvais"],"_links":{"self":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/12875","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/comments?post=12875"}],"version-history":[{"count":10,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/12875\/revisions"}],"predecessor-version":[{"id":12899,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/12875\/revisions\/12899"}],"wp:attachment":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=12875"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=12875"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=12875"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}