{"id":15637,"date":"2020-02-14T15:16:49","date_gmt":"2020-02-14T20:16:49","guid":{"rendered":"http:\/\/hunterword.com\/?p=15637"},"modified":"2022-01-12T20:53:50","modified_gmt":"2022-01-13T01:53:50","slug":"film-at-lincoln-center-cinema-tropicalneighboring-scenes-february-14-today-18","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/film-at-lincoln-center-cinema-tropicalneighboring-scenes-february-14-today-18\/","title":{"rendered":"<small>Film at Lincoln Center &#038; Cinema Tropical<\/small><br>Neighboring Scenes, February 14 (Today) &#8211; 18"},"content":{"rendered":"<h3><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-15678\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2020\/02\/neighboring.jpg\" alt=\"\" width=\"739\" height=\"493\" srcset=\"http:\/\/hunterword.com\/wp-content\/uploads\/2020\/02\/neighboring.jpg 739w, http:\/\/hunterword.com\/wp-content\/uploads\/2020\/02\/neighboring-300x200.jpg 300w, http:\/\/hunterword.com\/wp-content\/uploads\/2020\/02\/neighboring-560x374.jpg 560w, http:\/\/hunterword.com\/wp-content\/uploads\/2020\/02\/neighboring-260x173.jpg 260w, http:\/\/hunterword.com\/wp-content\/uploads\/2020\/02\/neighboring-160x107.jpg 160w\" sizes=\"auto, (max-width: 739px) 100vw, 739px\" \/><\/h3>\n<h3><strong>Annual festival includes Seven North American Premieres and 5 U.S. Premieres &amp; Four Filmmakers in Person<\/strong><\/h3>\n<h3><strong>Opening Night: <\/strong>Joanna Reposi Garibaldi\u2019s <em>Lemebel<\/em> with Garibaldi in person<strong><br \/>\n<\/strong><\/h3>\n<p>Neighboring Scenes spans a wide geographic range, highlighting the breadth of styles, techniques, and approaches employed by Latin American filmmakers. Opening Night selection is Joanna Reposi Garibaldi\u2019s documentary <em>Lemebel<\/em>, an intimate portrait of pioneering queer writer and visual artist Pedro Lemebel, told with unprecedented access and footage.<\/p>\n<p><center><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/311653006\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center>Other highlights of the lineup are Pablo Larra\u00edn\u2019s <em>Ema<\/em>, an electrifying character study anchored by performances from Gael Garc\u00eda Bernal and Mariana Di Girolamo.<\/p>\n<p><center><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/Jv2bXhRF6qw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center>&nbsp;<\/p>\n<p><strong>Not to be overlooked:<\/strong> Jos\u00e9 Luis Torres Leiva\u2019s tender, emotionally raw <em>Death Will Come and Shall Have Your Eyes<\/em>, a poetic meditation on death, mortality, and selfless love in the face of terminal illness; and five short films: Daniela Delgado Viteri\u2019s<em>Shortcuts<\/em>, Miguel Hilari\u2019s <em>Bocamina<\/em>, Pablo Mazzolo\u2019s <em>Green Ash<\/em>, Alejandro Alonso\u2019s <em>Home<\/em>, and Ulises Conti\u2019s <em>Persona 5<\/em>.<\/p>\n<p><strong>Documentaries are strongly featured in the Neighboring Scenes lineup including:<\/strong><br \/>\n\u2013 Ma\u00edra B\u00fchler\u2019s <em>Let It Burn<\/em>, which follows the marginalized residents of S\u00e3o Paulo\u2019s Dom Pedro hostel as they struggle with addiction, loneliness, and the threat of eviction.<br \/>\n\u2013 <em>Private Fiction<\/em>, Argentinean documentarian Andr\u00e9s Di Tella\u2019s cinematic reconstruction of his late parents\u2019 turbulent love story, told through their personal letters and photos.<br \/>\n\u2013 Marcelo Gomes\u2019s engaging travelogue <em>Waiting for the Carnival<\/em>, a portrait of a small Brazilian village dominated by the production of denim.<br \/>\n\u2013 The essay film <em>Pirotecnia<\/em>, which finds director Federico Atehort\u00faa Arteaga examining the uncanny relationship between his mother, Colombian cinema, and the country\u2019s history of armed conflict.<br \/>\n\u2013 And Hilari\u2019s lyrical <em>Compa\u00f1ia<\/em>, which blurs past and present, dream and reality in its portrayal of an indigenous Andean community\u2019s return home for a festival of the dead after migrating to the city.<\/p>\n<p style=\"text-align: left;\"><strong>The lineup also showcases multiple debut features, including:<\/strong><br \/>\n\u2013 Jo Serfaty\u2019s coming-of-age story <em>Sun Inside<\/em>, which follows four teenagers from the Rio de Janeiro favelas in the days leading up to the 2016 Summer Olympics<br \/>\n\u2013 Salom\u00f3n P\u00e9rez\u2019s <em>In the Middle of the Labyrinth<\/em>, a boy-meets-girl teenage love story that evokes both slacker cinema and formal documentary.<br \/>\n\u2013 <em>Workforce<\/em>, a poignant and astute meditation on class warfare from Mexican director David Zonana.<br \/>\n\u2013 Luc\u00eda Garibaldi\u2019s provocative, menace-tinged portrait of unrequited love and sexual awakening <em>The Sharks<\/em>, winner of the Sundance 2019 World Cinema Dramatic Best Director Award.<br \/>\n\u2013 Clemente Castor\u2019s format-shifting hangout film <em>Prince of Peace<\/em>, capturing the daily routines, fights, and uncanny discoveries of a group of Mexican teenagers.<br \/>\nAnd <em>Again Once Again<\/em>, which finds director Romina Paula playing a fictionalized version of herself opposite her own mother and son in a richly personal exploration of motherhood.<\/p>\n<p style=\"text-align: center;\"><em>Organized by Carlos Guti\u00e9rrez and Cecilia Barrionuevo<\/em><\/p>\n<p>Tickets, on sale:\u00a0 $15; $12 for students, seniors (62+), persons with disabilities, and Cinema Tropical subscribers; and $10 for Film at Lincoln Center members. See more and save with the purchase of three tickets or more. Learn more at filmlinc.org.<\/p>\n<p><strong>Acknowledgments: <\/strong>Arthouse Hotel, Meghan Monsour, Daniella Schestatzky, Matias Pi\u00f1eiro, Paola Buontempo, Corey Sabourin, Mary Jane Marcasiano, Pilar Garrett, Stephanie Diaz, Ana Sophia Colon<br \/>\n<b><u><\/u><\/b><\/p>\n<hr \/>\n<h2 style=\"text-align: center;\"><b><u><strong>FILMS &amp; DESCRIPTIONS<\/strong><\/u><\/b><\/h2>\n<p><em>All screenings take place at the Walter Reade Theater (165 W 65th St) unless otherwise noted.<\/em><\/p>\n<p><strong>Opening Night<\/strong><br \/>\n<strong>Lemebel, Friday, February 14, 6:30 p.m. (Q&amp;A with Joanna Reposi Garibaldi)<\/strong><br \/>\n<strong>Joanna Reposi Garibaldi, Chile\/Colombia, 2019, 96m<\/strong><br \/>\n<strong>Spanish with English subtitles<\/strong><br \/>\n<strong>New York Premiere<\/strong><br \/>\nA pioneering queer writer and visual artist who shook up conservative Chilean society during Pinochet&#8217;s dictatorship in the 1980s, Pedro Lemebel worked on a film about his own work during the last eight years of his life. Unfortunately, he was never able to complete the film before his death from cancer in 2015. With unprecedented access and footage from that unfinished project, Joanna Reposi Garibaldi\u2019s documentary details the risk-taking, confrontational performance art that defined this extraordinary figure, whose work advocated for human rights, and which speaks to the recent political upheaval in Chile.<\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p>&nbsp;<\/p>\n<p><strong>Again Once Again \/ De nuevo otra vez, <\/strong><em><strong>Monday, February 17, 9 p.m<\/strong><\/em><br \/>\n<strong>Romina Paula, Argentina, 2019, 84m<br \/>\n<\/strong><strong>Spanish and German with English subtitles<br \/>\n<\/strong><strong>U.S. Premiere<br \/>\n<\/strong>Moving freely between documentary and scripted drama, Argentine novelist, actor, and playwright Romina Paula\u2019s debut feature is a rich and surprising personal work exploring the poignant emotional landscape of motherhood. Paula\u2014who recently appeared in <em>La Flor<\/em>\u2014plays a fictionalized version of herself, a mother who returns to her childhood home in Buenos Aires, which ignites memories and feelings of her life before starting a family. Performing alongside her real mother and three-year-old son, Paula creates an intimate, shape-shifting film full of affection and wisdom.<\/p>\n<p><em>Preceded by:<\/em><br \/>\n<em><strong>Shortcuts \/ Atajos<br \/>\n<\/strong><strong>Daniela Delgado Viteri, Ecuador, 2019, 18m<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>Through five imaginary interviews, Shortcuts presents alternative forms of rebellion and resilience in everyday life\u2014a good strategy for avoiding the pitfalls of hegemony and colonialism.<\/em><\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p><strong>Compa\u00f1\u00eda<br \/>\n<\/strong><strong>Miguel Hilari, Bolivia, 2019, , <em>Saturday, February 15, 2:00 p.m<\/em>.<br \/>\n<\/strong><strong>Spanish and Aymara with English subtitles<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>The second film from Bolivian director Miguel Hilari (<em>The Corral and the Wind<\/em>) is a lyrical and mystical documentary about an indigenous community who migrated to the city and have returned to their small mountain village in the Andes to honor the memory of their ancestors for a festival of the dead. The film blurs the boundaries between past and present, individual and community, urban and rural, dreams and reality. Prizewinner at the Visions du R\u00e9el Festival.<\/p>\n<p><em>Preceded by:<\/em><br \/>\n<em><strong>Bocamina \/ Pithole<br \/>\n<\/strong><strong>Miguel Hilari, Bolivia, 2019, 22m<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>Filmed in the Bolivian city of Potos\u00ed, Bocamina concerns the miners who work in Cerro Rico, the mountain of silver ore that overlooks the city. Emerging from the darkness, faces begin a dialogue with those from years long past.<\/em><\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p>&nbsp;<\/p>\n<p><strong>Death Will Come and Shall Have Your Eyes \/ Vendr\u00e1 la muerte y tendr\u00e1 tus ojos, Monday, February 17, 6:30 p.m.<\/strong><br \/>\n<strong>Jos\u00e9 Luis Torres Leiva, 2019, Chile\/Germany\/Argentina, 89m<\/strong><br \/>\n<strong>Spanish with English subtitles<\/strong><br \/>\n<strong>U.S. Premiere<\/strong><br \/>\nInspired by a line of poetry by Cesare Pavese, Chilean filmmaker Jos\u00e9 Luis Torres Leiva\u2019s latest feature is an intensely felt tone poem about mortality and selfless love. Amparo Noguera (<em>A Fantastic Woman<\/em>) and Julieta Figueroa star as longtime lovers who must face the inevitable when one of them is diagnosed with a terminal illness. Refusing treatment, they retreat to a secluded cabin where they rediscover their love for one another. Torres Leiva\u2019s camera locates tender and wistful beauty in every sequence, and the emotionally raw performances by Noguera and Figueroa conjure the intensity of a Bergman chamber drama.<\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p>&nbsp;<\/p>\n<p><strong>Ema<br \/>\n<\/strong><strong>Pablo Larra\u00edn, Chile, 2019, 107m, Sunday, February 16, 8:30 p.m.<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>New York Premiere<br \/>\n<\/strong>In his first film since the 2016 double bill of <em>Neruda<\/em> and <em>Jackie<\/em>, Pablo Larra\u00edn returns to present-day Chile for an incendiary portrait of a young woman in rebellion. Set in Valpara\u00edso, the film concerns married couple Ema, a platinum-blonde reggaeton dancer (played brilliantly by Mariana Di Girolamo), and choreographer Gast\u00f3n (Gael Garc\u00eda Bernal), who have abandoned their adopted 7-year-old son. A portrait of a modern family and a tenacious exploration of art, desire, and personal liberation, <em>Ema<\/em> is a rare character study that moves with the intensity of a heart-pounding dance film, set to an absorbing electronic score by Nicolas Jaar. A Music Box Films release.<\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p><strong>In the Middle of the Labyrinth \/ En medio del laberinto, Tuesday, February 18, 9 p.m.<br \/>\n<\/strong><strong>Salom\u00f3n P\u00e9rez, Peru, 2019, 65m<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>Director Salom\u00f3n P\u00e9rez\u2019s debut feature, set in the Peruvian city of Trujillo, depicts the world through the eyes of teenager Renzo, a skater with no clear idea about his future, and Zoe, a girl obsessed with drawing the city\u2019s maze of antennae and cables. <em>In the Middle of the Labyrinth<\/em> has all the hallmarks of a traditional slacker drama, yet is narrated as though a documentary\u2014a snapshot of that moment of life when nothing is more important than falling in love and experiencing time as it gently passes by.<\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p><strong>Let It Burn \/ Diz a Ela que me Viu Chorar, <\/strong><em><strong>Saturday, February 15, 4 p.m.<\/strong><\/em><br \/>\n<strong>Ma\u00edra B\u00fchler, Brazil, 2019, 82m, Pirotecnia, Sunday, February 16, 4:15 pm<br \/>\n<\/strong><strong>Portuguese with English subtitles<br \/>\n<\/strong><strong>New York Premiere<br \/>\n<\/strong>Four years in the making, the new documentary feature by Brazilian filmmaker Ma\u00edra B\u00fchler (<em>I Touched All Your Stuff<\/em>) is a powerful and delicate portrait of the seven-floor Dom Pedro hostel in downtown S\u00e3o Paulo, which houses 107 homeless residents from marginalized communities, many of whom are struggling with drug addiction and the ever-present threat of eviction. Employing elegant photography, the filmmaker reveals the tragic human stories of his individuals full of loneliness and heartbreak who nevertheless fight for life in solidarity.<\/p>\n<p><em>Preceded by:<\/em><br \/>\n<em><strong>Green Ash \/ Ceniza Verde<br \/>\n<\/strong><strong>Pablo Mazzolo, Argentina, 2019, 10m<br \/>\n<\/strong><strong>New York Premiere<br \/>\n<\/strong>This short film revisits the tragic history of the H\u00ean\u00eea-K\u00e2m\u00eeare community, which committed mass suicide in 1575 to escape the violence of the Spanish conquest.<\/em><\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p>&nbsp;<\/p>\n<p><strong>Federico Atehort\u00faa Arteaga, Colombia, 2019, 83m<\/strong><br \/>\n<strong>Spanish with English subtitles<br \/>\n<\/strong><strong>U.S. Premiere<\/strong><br \/>\nIn 1906, four men were executed for attempting to kill Colombia\u2019s President, Rafael Reyes. The failed coup is revisited in Federico Atehort\u00faa\u2019s film essay, in which a family accident leads the director to discover the uncanny relationship between his mother, the origins of Colombian cinema, and recent events in the country\u2019s prolonged armed conflict.<\/p>\n<p>&nbsp;<\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p>&nbsp;<\/p>\n<p><strong>Prince of Peace \/ Pr\u00edncipe de paz, Sunday, February 16, 2 p.m.<\/strong><br \/>\n<strong>Clemente Castor, Mexico\/Venezuela, 2019, 84m<\/strong><br \/>\n<strong>Spanish with English subtitles<\/strong><br \/>\n<strong>U.S. Premiere<\/strong><br \/>\nClemente Castor\u2019s debut feature is a format-shifting hangout film distinguished by its young director\u2019s visionary, oddball perspective. <em>Prince of Peace<\/em> is in constant motion, as are its characters: a group of Mexican teenagers whose daily routines are observed across bedroom hangouts, doctors\u2019 visits, and fights. Melancholic but not without a sense of humor, <em>Prince of Peace<\/em>captures the immersive textures and sensations of youth. Winner of Best Mexican Film at the 2019 FICUNAM International Cinema Festival.<\/p>\n<p>Preceded by:<br \/>\n<em><strong>Home<br \/>\n<\/strong><strong>Alejandro Alonso, Cuba, 2019, 12m<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>Streets, houses, trees, and people appear between textures and sounds \u2014 memories of a city that once was and images of a city as it is now.<\/em><\/p>\n<hr align=\"center\" noshade=\"noshade\" size=\"1\" width=\"60%\" \/>\n<p><strong>Private Fiction \/ Ficci\u00f3n privada, Sunday, February 16, 6:15 p.m. (Q&amp;A with Andr\u00e9s Di Tella)<br \/>\n<\/strong><strong>Andr\u00e9s Di Tella, Argentina, 2019, 79m<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>U.S. Premiere<br \/>\n<\/strong>In his latest documentary, Argentinean filmmaker Andr\u00e9s Di Tella uses photos and love letters from his late parents \u2014 his father, Torcuato, born in Argentina; and mother, Kamala, from India\u2014to create an intimate portrait of a turbulent 20th-century love story. The letters, written between the \u201950s and \u201970s and read in the film by professional actors, describe love and idealism, world travels, socialism and psychoanalysis, pain and broken dreams. Meanwhile, with the assistance of his own daughter, Di Tella sets about solving the puzzle of his family\u2019s memory.<\/p>\n<p><strong>The Sharks \/ Los tiburones, Saturday, February 15, 6:00 p.m. (Q&amp;A with Luc\u00eda Garibaldi)<br \/>\n<\/strong><strong>Luc\u00eda Garibaldi, Uruguay\/Argentina\/Spain, 2019, 80m<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>New York Premiere<br \/>\n<\/strong>Luc\u00eda Garibaldi\u2019s assured and understated debut feature is an engaging and provocative coming-of-age tale. The film tells the story of 14-year-old Rosina (played by the wonderful newcomer Romina Bentancur), who lives in a quiet beach resort rumored to be plagued by sharks. Upon meeting the older Joselo, Rosina begins to circle him, as if inspired by the area\u2019s mysterious predators.\u00a0Winner of the Sundance Film Festival\u2019s\u00a0World Cinema Dramatic\u00a0Best Director Award, <em>The Sharks\u00a0<\/em>adds Garibaldi\u2019s name to an exciting list of powerful female voices emerging in South America cinema.<\/p>\n<p><strong>Sun Inside \/ Um filme de ver\u00e3o, Friday, February 14, 9 p.m.<br \/>\n<\/strong><strong>Jo Serfaty, Brazil, 2019, 94m<br \/>\n<\/strong><strong>Portuguese with English subtitles<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>Jo Serfaty\u2019s spirited debut feature, set in Rio de Janeiro days before the start of the 2016 Olympic Games, follows four teenage high-schoolers from the <em>favelas<\/em>\u2014Karol, Junior, Ronaldo, and Caio\u2014as they plan their summer. When vacation arrives, the temperatures in the city soar, and, amid regular blackouts, they reinvent themselves, hoping to overcome their own personal adversities<\/p>\n<p><em>Preceded by:<\/em><br \/>\n<em><strong>Persona 5<br \/>\n<\/strong><strong>Ulises Conti, Argentina\/Japan, 2019, 18m<br \/>\n<\/strong><strong>North American Premiere<br \/>\n<\/strong>This intimate portrait of a group of Japanese teenagers who spend hours playing video games shows how an addiction to computers functions as a substitute for the way humans once related to each other.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Waiting for the Carnival \/ Estou me guardando para quando o carnaval chegar, Tuesday, February 18, 6:30 p.m.<br \/>\n<\/strong><strong>Marcelo Gomes, Brazil, 2019, 86m<br \/>\n<\/strong><strong>Portuguese with English subtitles<br \/>\n<\/strong><strong>New York Premiere<br \/>\n<\/strong>The most recent film by acclaimed director Marcelo Gomes (<em>Once Upon a Time Veronica<\/em>) is an engaging documentary portrait of relentless capitalism, centered in the small Brazilian village of Toritama. Here, more than 20 million pairs of jeans are produced in makeshift factories every year. The locals work nonstop, proud to be the masters of their own time. During Carnival\u2014the area\u2019s only leisure time of the year\u2014they sell their belongings and flee to the beaches in search of ephemeral happiness. When Ash Wednesday arrives, a new work cycle begins.\u00a0An Icarus Films release.<\/p>\n<p><strong>Workforce \/ Mano de obra, Saturday, February 15, 8:30 p.m. (Q&amp;A with David Zonana)<br \/>\n<\/strong><strong>David Zonana, Mexico, 2019, 82m<br \/>\n<\/strong><strong>Spanish with English subtitles<br \/>\n<\/strong><strong>New York Premiere<br \/>\n<\/strong>Following the death of his brother at a construction site in Mexico City, Francisco learns that his widowed sister-in-law will not receive compensation from the wealthy owner of the luxury house where the accident occurred. After enduring a succession of further abuses against himself and his colleagues, and having made several attempts to obtain justice, he finally takes the law into his own hands\u2014but will the world he\u2019s fighting against consume him? David Zonana\u2019s acclaimed debut feature is a poignant and astute meditation on class warfare.<\/p>\n<hr \/>\n<p><strong><u>CINEMA TROPICAL<\/u><\/strong><br \/>\nNew York-based Cinema Tropical (https:\/\/www.cinematropical.com) is the leading presenter of Latin American cinema in the United States. Founded in 2001 with the mission of distributing, programming, and promoting what has become the largest boom of Latin American cinema in decades, CT brought U.S. audiences some of the first screenings of films such as <em>Amores Perros<\/em> and <em>Y tu mam\u00e1 tambi\u00e9n<\/em>. Through a diversity of programs and initiatives, CT is thriving as a dynamic and groundbreaking 501(c)(3) non-profit media arts organization experimenting in the creation of better and more effective strategies for the distribution, exhibition, and support of foreign cinema and its communities in this country. In 2001, on occasion of the organization&#8217;s tenth anniversary, the Museum of Modern Art paid tribute to the work of Cinema Tropical with the special series In Focus: Cinema Tropical.<br \/>\n<u><\/u><\/p>\n<p><strong><u>FILM AT LINCOLN CENTER<\/u><\/strong><\/p>\n<p>Dedicated to supporting the art and elevating the craft of cinema and enriching film culture.<\/p>\n<p>Film at Lincoln Center fulfills its mission through the programming of festivals, series, retrospectives, and new releases; the publication of <em>Film Comment<\/em>; the presentation of podcasts, talks, and special events; the creation and implementation of Artist Initiatives; and our Film in Education curriculum and screenings. Since its founding in 1969, this nonprofit organization has brought the celebration of American and international film to the world-renowned arts complex Lincoln Center, making the discussion and appreciation of cinema accessible to a broad audience, and ensuring that it remains an essential art form for years to come.<\/p>\n<p>Film at Lincoln Center receives generous, year-round support from <em>The New York Times<\/em>, Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of Film at Lincoln Center. For more information, visit\u00a0<a href=\"https:\/\/mail.hunter.cuny.edu\/owa\/redir.aspx?C=g0i9Cv9V6cgATy9syHbT6NawIrDDKz0NF7vtln9OXcW063n2pJ7XCA..&amp;URL=http%3a%2f%2femail.wordfly.com%2fclick%3fsid%3dNTU1XzY2MDhfOTE0MjVfNzQyMg%26l%3ded706ab8-d9a5-e611-bdf9-e41f1345a46a%26utm_source%3dwordfly%26utm_medium%3demail%26utm_campaign%3dNeighboringScenes2020%26utm_content%3dversion_A\">www.filmlinc.org<\/a>\u00a0and follow @filmlinc on Twitter.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Neighboring Scenes spans a wide geographic range, highlighting the breadth of styles, techniques, and approaches employed by Latin American filmmakers. Opening Night selection is Joanna Reposi Garibaldi\u2019s documentary Lemebel, an intimate portrait of pioneering queer writer and visual artist Pedro Lemebel, told with unprecedented access and footage.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"http:\/\/hunterword.com\/index.php\/film-at-lincoln-center-cinema-tropicalneighboring-scenes-february-14-today-18\/\">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":[],"class_list":["post-15637","post","type-post","status-publish","format-standard","hentry","category-archives"],"_links":{"self":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/15637","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=15637"}],"version-history":[{"count":21,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/15637\/revisions"}],"predecessor-version":[{"id":15679,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/15637\/revisions\/15679"}],"wp:attachment":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=15637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=15637"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=15637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}