{"id":7119,"date":"2017-09-12T16:23:45","date_gmt":"2017-09-12T20:23:45","guid":{"rendered":"http:\/\/hunterword.com\/?p=7119"},"modified":"2017-12-26T11:54:37","modified_gmt":"2017-12-26T16:54:37","slug":"gregg-w-morris-18","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/gregg-w-morris-18\/","title":{"rendered":"The Film Society of Lincoln Center Announces Revivals Lineup for the 55th New York Film Festival, September 28 to October 15"},"content":{"rendered":"

New restorations of Andrei Tarkovsky\u2019s The Sacrifice, Jean Vigo\u2019s L\u2019Atalante, Kenji Mizoguchi\u2019s Sansho the Bailiff and A Story from Chikamatsu, Humberto Sol\u00e1s\u2019s Luc\u00eda, and more, plus works by NYFF55 Main Slate filmmakers Agn\u00e8s Varda and Philippe Garrel<\/strong><\/em><\/p>\n

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Hallelujah the Hills. Picture courtesy Film Society of Lincoln Center<\/p><\/div>\n

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The Revivals section showcases important works from renowned filmmakers that have been digitally remastered, restored, and preserved with the assistance of generous partners.<\/p>\n

Two venerated filmmakers from the festival\u2019s 2017 Main Slate lineup also have works featured in this year\u2019s Revivals section. Agn\u00e8s\u00a0Varda, who is returning to the festival alongside co-director JR with their new film\u00a0Faces Places,<\/i>\u00a0will present her 1977\u00a0feminist musical\u00a0One Sings, the Other Doesn\u2019t<\/i>,\u00a0which was the Opening Night\u00a0selection of\u00a0the fifteenth\u00a0edition of\u00a0NYFF\u00a0forty years ago. And two works by Philippe Garrel\u20141968\u2019s black-and-white, silent film Le R\u00e9v\u00e9lateur <\/i>and 1979\u2019s devastatingly personal L\u2019Enfant secret<\/i>\u2014accompany his Main Slate selection Lover for a Day<\/i>. Both directors will appear in person at the festival.<\/p>\n

Other works making their return in brilliant new restorations are Hou Hsiao-hsien\u2019s often overlooked Daughter of the Nile<\/i> (NYFF26), on its 30th anniversary, Andrei Tarkovsky\u2019s Bergman-influenced final work, The Sacrifice<\/i> (NYFF24), and Adolfas Mekas\u2019s Hallelujah the Hills<\/i>, which premiered in the first New York Film Festival in 1963.<\/p>\n

The Revivals section also celebrates Jean Vigo\u2019s legendary last film, L\u2019Atalante<\/i>, which was originally released just before the young filmmaker\u2019s death in a cruelly edited, 65-minute version. Reconstituted painstakingly over time, the film is now is the closest we may ever come to Vigo\u2019s original cut. Completing the lineup are two masterworks by Kenji Mizoguchi, both released in the same year\u2014Sansho the Bailiff <\/i>and A Story from Chikamatsu<\/i>; long-thought-lost gothic tale The Old Dark House<\/i>, by James Whale; Humberto Sol\u00e1s\u2019s vivid first feature Luc\u00eda<\/i>, a key work of Cuban cinema; Jean-Luc Godard\u2019s made-for-TV chase movie Grandeur and Decadence<\/i>, starring Jean-Pierre L\u00e9aud; Pedro Costa\u2019s rarely seen second feature, Casa de Lava<\/i>; Jean Renoir\u2019s beautiful The Crime of Monsieur Lange<\/i>; and Hallelujah the Hills<\/i>, Adolf Mekas\u2019s landmark work of New American Cinema.<\/p>\n

The 18-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; and Amy Taubin, Contributing Editor, Film Comment<\/i> and Sight & Sound<\/i>.<\/p>\n

As previously announced, the NYFF55 Opening Night is Richard Linklater\u2019s Last Flag Flying<\/i>, Todd Haynes\u2019s Wonderstruck<\/i> is Centerpiece, Woody Allen\u2019s Wonder Wheel<\/i> is Closing Night, and the Retrospective honors Robert Mitchum\u2019s centenary. The complete lineup for the Main Slate can be found here<\/a> and for Projections, here<\/a>.<\/p>\n

NYFF Special Events, Spotlight on Documentary, and Convergence sections, as well as filmmaker conversations and panels, will be announced in the coming weeks.<\/p>\n

Tickets for the 55th New York Film Festival will go on sale\u00a0September 10 at noon. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount and brand new member benefits and offers available throughout NYFF. Learn more at\u00a0filmlinc.org\/membership<\/a>.<\/p>\n

For even more access, VIP passes and packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and packages are on sale now. Learn more at\u00a0filmlinc.org\/packages<\/a>.<\/p>\n

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Films & Descriptions<\/u><\/b><\/h2>\n

L\u2019Atalante
\n<\/b>Dir. Jean Vigo, France, 1934, 89m
\nJean Vigo\u2019s legendary last film, about a barge captain (Jean Dast\u00e9) and his new bride (Dita Parlo), who begin their turbulent marriage aboard his riverboat accompanied by an eccentric first mate (Michel Simon), was filmed in the winter of 1933 while the director was suffering from tuberculosis. Gaumont started hacking away at Vigo\u2019s cut and released a 65-minute version to poor reviews. One month later, Vigo died at age 29. Since then, the film has not only been seen and loved but painstakingly reconstituted over time to be as close as we will ever come to Vigo\u2019s original cut. A Janus Films release.<\/p>\n

Restored by Gaumont in association with The Film Foundation and La Cin\u00e9math\u00e8que fran\u00e7aise with the support of Centre National de la Cin\u00e9matographie. Restoration performed at L\u2019Immagine Ritrovata in Bologna and Paris.<\/i><\/p>\n

Bob le flambeur
\n<\/b>Dir. Jean-Pierre Melville, France, 1956, 102m
\nThe 1981 screening of Bob le flambeur <\/i>at the 19th New York Film Festival marked many American filmgoers\u2019 first exposure to Jean-Pierre Melville. His fourth feature, starring Roger Duchesne as a thief with a code of honor who envisions and executes a perfect plan to rob the casino in Deauville, marks the real beginning of what we have now come to think of as Melville\u2019s world: a drily elegant network of interlocking movements and gestures between laconic gangsters, at once powered and haunted by American cinema. A Rialto Pictures release.<\/p>\n

4K restoration from the interpositive, under the supervision of Studiocanal, with the support of the CNC.<\/i><\/p>\n

Casa de Lava
\n<\/b>Dir. Pedro Costa, Portugal, 1994, 105m
\nThe colonial histories and displaced emigrants of Cape Verde have taken a central role in many of Costa\u2019s films, but his rarely seen second feature is the only one of his movies thus far to have actually been shot on the archipelago. Le\u00e3o (Isaach de Bankol\u00e9), the comatose laborer whose removal to his home at Fogo jump-starts the film, is a clear precursor to Costa\u2019s now iconic character Ventura, with whom he shares a profession and a past. But the amount of fierce, unblinking attention the film gives to the colonists themselves is the real revelation: Edith Scob as an aging Portuguese woman who has made the island her ill-fitting home; Pedro Hestnes as her son; and In\u00eas de Medeiros as the Lisbon nurse who accompanies Le\u00e3o with a mixture of brashness and fear. Casa de Lava<\/i>, inspired by Tourneur\u2019s I Walked with a Zombie<\/i>, is one of the director\u2019s most direct reckonings with Portugal\u2019s colonial legacy. A Grasshopper Film release.<\/p>\n

The Crime of Monsieur Lange
\n<\/b>Dir. Jean Renoir, France, 1936, 77m
\nA publishing company\u2019s members form a collective after its charming and thoroughly evil owner (Jules Berry) disappears in the dead of night in Jean Renoir and writer Jacques Pr\u00e9vert\u2019s beautiful film, made under the sign of Pr\u00e9vert\u2019s socialist theater collective, Le Groupe Octobre. \u201cOf all Renoir\u2019s films,\u201d wrote Fran\u00e7ois Truffaut, \u201cM. Lange <\/i>is the most spontaneous, the richest in miracles of camerawork, the most full of pure beauty and truth. In short, it is a film touched by divine grace.\u201d With Ren\u00e9 Lef\u00e8vre as the guileless dreamer M. Lange and singer and actress Florelle as his beloved. A Rialto Pictures release.<\/p>\n

4K restoration from nitrate and safety elements, the internegative and a 35mm print, under the supervision of Studiocanal, with the support of the CNC.<\/i><\/p>\n

Daughter of the Nile
\n<\/b>Dir. Hou Hsiao-hsien, Taiwan, 1987, 91m
\nOften overlooked, Hou Hsiao-hsien\u2019s Daughter of the Nile <\/i>(Ni luo he nu er<\/i>), a fascinating attempt to portray the anomie felt by Taiwanese youth of the mid-1980s (based in part on incidents in the life of screenwriter Chu T\u2019ien-wen), came between the period pieces that established the director on his home ground and around the world. Even Hou himself has been hard on the film and its main actress, pop star Yang Lin, in the role of a teenager trying to make a living, care for her volatile older brother (Jack Kao), find love, and define herself all at once. Nevertheless, Daughter of the Nile<\/i> is a rich experience from a formidable filmmaker. A Cohen Media Group release.<\/p>\n

L\u2019Enfant secret
\n<\/b>Dir. Philippe Garrel, France, 1979, 92m
\nAfter the generational upheaval of May \u201968 and its aftermath, and the personal upheavals of drug addiction, depression, and shock therapy, Garrel made the conscious decision to turn away from the increasingly private poetry of his earlier work, at the center of which was his great love Nico. He turned to the great screenwriter Annette Wadamant, who helped him to organize his thoughts into a narrative of \u201cthings that happened to me,\u201d and the result was this spare, elemental, devastating film about two damaged souls (Henri de Maublanc and Anne Wiazemsky) trying to build a life together as her child (Xuan Lindenmeyer) is taken away. As Serge Daney wrote, \u201cIt\u2019s as if this autobiographical film has succeeded in holding its bearings without forgetting the trace of each stage of the journey it\u2019s passed through.\u201d<\/p>\n

Grandeur and Decadence\/Grandeur et D\u00e9cadence
\n<\/b>Dir. Jean-Luc Godard, France, 1986, 91m
\nGodard took a French network television commission to create a TV movie for the S\u00e9rie noire<\/i> TV anthology based on James Hadley Chase\u2019s 1964 novel The Soft Centre<\/i>, and turned in this funny, melancholy video piece about a director (Jean-Pierre L\u00e9aud) and producer (comic filmmaker Jean-Pierre Mocky) who are trying to make a movie out of the Chase novel\u2014sort of\u2014in the old style: on the run, with a low budget, and with an eye toward sublimity. A Capricci Films release.<\/p>\n

Hallelujah the Hills
\n<\/b>Dir. Adolfas Mekas, USA, 1963
\nInspired as much by Hollywood comedies and romances of the silent era as by the French New Wave, Adolfas Mekas\u2019s debut feature remains, 54 years after its American premiere in the first New York Film Festival, an irreverent delight, a semi-slapstick vision of true love, and a valentine to cinema itself. Two madly impulsive young men are in love with the same woman, who happens to be played by two different actresses. The snow-covered fields and trees of Vermont still gleam as beautifully in this new digital restoration as in the original 35mm.<\/p>\n

Luc\u00eda
\n<\/b>Dir. Humberto Sol\u00e1s, Cuba, 1968, 160m
\nA key work of Cuban cinema, the first feature from director Humberto Sol\u00e1s is a trio of stories about women named Luc\u00eda, each in a different register: \u201cLuc\u00eda 1895\u201d (featuring Raquel Revuelta, the \u201cVoice of Cuba\u201d in I Am Cuba<\/i>) is inspired by Visconti\u2019s Senso<\/i>; \u201cLuc\u00eda 1933\u201d (with Eslinda N\u00fa\u00f1ez, from Memories of Underdevelopment<\/i>) is closer to Hollywood melodrama of the forties; and \u201cLuc\u00eda 196_\u201d, made in the spirit of the revolutionary moment, is a broadly drawn tale of a woman (Adela Legr\u00e1) under the thumb of her domineering husband. \u201cOne of the few films, Left or Right, to deal with women on the same plane and in the same breath as major historical events,\u201d wrote Molly Haskell in 1974. Luc\u00eda <\/i>is also a vivid visual experience, shot in glorious black and white by Jorge Herrero.<\/p>\n

Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematogr\u00e1ficos (ICAIC). Restoration funded by Turner Classic Movies and The Foundation’s World Cinema Project.<\/i><\/p>\n

The Old Dark House
\n<\/b>Dir. James Whale, USA, 1932, 71m
\nCast from the mold of Edgar Allan Poe\u2019s \u201cThe Fall of the House of Usher\u201d and the many gothic tales in its wake, J. B. Priestley\u2019s 1927 novelBenighted <\/i>was one of the most popular among the dozens of stories of the late 1920s and early 1930s for the page, stage, and screen about stranded travelers wandering through gloomy, secluded mansions at night. In their film adaptation, James Whale and his writers Benn Levy and R. C. Sherriff gave the novel a comic spin, bringing the film closer in spirit to the director\u2019s later Bride of Frankenstein<\/i>. The Old Dark House <\/i>was thought to be lost in the years after Universal lost the rights, and it was filmmaker Curtis Harrington who rescued it from oblivion. A Cohen Media Group release.<\/p>\n

One Sings, the Other Doesn\u2019t
\n<\/b>Dir. Agn\u00e8s Varda, France, 1977, 107m
\nThe opening night selection of the 1977 New York Film Festival, Agn\u00e8s Varda\u2019s singular One Sings, the Other Doesn\u2019t (L\u2019une chante, l\u2019autre pas)<\/i> is a feminist musical\u2014with lyrics by the director\u2014about the bond of sisterhood felt by Pomme (Val\u00e9rie Mairesse) and Suzanne (Th\u00e9r\u00e8se Liotard) throughout years of changes and fraught relationships with men. \u201cIf I put myself on the screen\u2014very natural and feminist\u2014maybe I\u2019d get ten people in the audience,\u201d Varda explained to Gerald Peary at the time of the film\u2019s release. \u201cInstead, I put two nice young females on the screen, and not too much of my own leftist conscience. By not being too radical but truly feminist, my film has been seen by 350,000 people in France.\u201d A Janus Films release.<\/p>\n

Le R\u00e9v\u00e9lateur
\n<\/b>Dir. Philippe Garrel, France, 1968, 67m
\n<\/b>This astonishingly beautiful black-and-white silent film was shot in the Black Forest of Germany with a cast of three (Bernadette Lafont, Laurent Zerzieff, and Stanlislas Robiolle), and is a primal response to the events of May \u201968 as they were still unfolding. Lafont synopsized the film perfectly: \u201cA couple and their child flee in the face of an unknown but still considerable menace\u2026 In a desolate landscape, full of humidity and humiliation, we see the weakest of beings stage his revolt: a child.\u201d According to the cinematographer Michel Fournier, Garrel allowed him \u201cthe greatest liberty to improvise and to invent, with voluntarily minimal lighting in order to stimulate our imagination, and an extremely sensitive film stock in order to capture the faintest glimmers or the strongest apparitions.\u201d<\/p>\n

The Sacrifice
\n<\/b>Dir. Andrei Tarkovsky, Sweden, 1986, 142m
\nThe sacrifice in Andrei Tarkovsky\u2019s final film, completed only months before his death from cancer at the age of 54, is performed by Alexander, an aging professor who strikes a deal with God in order to avert humankind\u2019s self-obliteration after the sudden outbreak of World War III. The Sacrifice<\/i> is a work made under the sign of one of Tarkovsky\u2019s masters, Ingmar Bergman: the film was shot in Swedish with several of Bergman\u2019s principal actors, including Erland Josephson in the lead, and his DP Sven Nykvist. It is, most certainly, a final testament. But it is also, like every Tarkovsky film, a plunge into the uncanny and the uncharted. A Kino Lorber release.<\/p>\n

Sansho the Bailiff
\n<\/b>Dir. Kenji Mizoguchi, Japan, 1954, 124m
\nOne of the greatest of Kenji Mizoguchi\u2019s films, Sansho the Bailiff <\/i>(Sansh\u00f4 Day\u00fb<\/i>) is also one of the greatest works of the cinema. The story of a family\u2019s quiet endurance as it is split up and its members are sold into slavery and prostitution in 11th-century Japan is very delicately balanced between tenderness and remove. Sansho the Bailiff <\/i>\u201cmoves from easy poetry to difficult poetry,\u201d wrote Roger Greenspun when the film had its belated New York premiere in 1969. \u201cIts impulses, which are profound but not transcendental, follow an aesthetic program that is also a moral progression, and that emerges, with superb lucidity, only from the greatest art.\u201d A Janus Films release.<\/p>\n

Restored by KADOKAWA Corporation and The Film Foundation at Cineric, Inc. in New York with sound by Audio Mechanics, with the cooperation of The Japan Foundation. Special thanks to Masahiro Miyajima and Martin Scorsese for their consultation.<\/i><\/p>\n

A Story from Chikamatsu
\n<\/b>Dir. Kenji Mizoguchi, Japan, 1954, 102m
\nKenji Mizoguchi\u2019s adaptation of Chikamatsu Monzaemon\u2019s 17th-century j\u014druri<\/i> play about an apprentice scroll-maker (Kazuo Hasegawa) who runs away with his master\u2019s young wife (Ky\u014dko Kagawa) is, like Sansho the Bailiff <\/i>(released earlier in the same year) and Ugetsu<\/i>before them, a film of extraordinary beauty and force. Per Akira Kurosawa, A Story from Chikamatsu<\/i> (Chikamatsu monogatari<\/i>) is \u201ca great masterpiece that could only have been made by Mizoguchi.\u201d Screenwriter Yoshikata Yoda remembered the director giving him the following instructions: \u201cBe stronger, dig more deeply. You have to seize man, not in some of his superficial aspects, but in his totality.\u201d In other words, a quest, and one that was at the heart of Mizoguchi\u2019s greatest works. A Janus Films release.<\/p>\n

Restored by KADOKAWA Corporation and The Film Foundation at Cineric, Inc. in New York with sound by Audio Mechanics, with the cooperation of The Japan Foundation. Special thanks to Masahiro Miyajima and Martin Scorsese for their consultation.<\/i><\/p>\n

FILM SOCIETY OF LINCOLN CENTER<\/u><\/b>
\nThe Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. 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\u00a0Film 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 well as to ensure that it will remain an essential art form for years to come.<\/p>\n

The Film Society receives generous, year-round support from 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 the Film Society of Lincoln Center.<\/p>\n

Support for the New York Film Festival is generously provided by Official Partner HBO\u00ae and The New York Times<\/i>, Benefactor Partners Verizon, FilmStruck,\u00a0The Village Voice<\/i>, Dolby, and illy caff\u00e9, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, Variety<\/i>, The Hollywood Reporter<\/i>, Deadline Hollywood, JCDecaux, and The Mayor’s Office of Media and Entertainment serve as Media Sponsors.<\/p>\n

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Gregg Morris can be reached at gmorris@hunter.cuny.edu<\/p>\n","protected":false},"excerpt":{"rendered":"

New restorations of Andrei Tarkovsky\u2019s The Sacrifice, Jean Vigo\u2019s L\u2019Atalante, Kenji Mizoguchi\u2019s Sansho the Bailiff and A Story from Chikamatsu, Humberto Sol\u00e1s\u2019s Luc\u00eda, and more, plus works by NYFF55 Main Slate filmmakers Agn\u00e8s Varda and Philippe Garrel<\/p>\n

Read more →<\/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":[494,501,98,496,230,149,524,525],"class_list":["post-7119","post","type-post","status-publish","format-standard","hentry","category-archives","tag-55th-ny-film-festival","tag-avant-garde-cinema","tag-cinema","tag-film-at-lincoln-center","tag-film-fests","tag-films","tag-films-in","tag-films-in-new-york-city"],"_links":{"self":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7119","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=7119"}],"version-history":[{"count":13,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7119\/revisions"}],"predecessor-version":[{"id":7401,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7119\/revisions\/7401"}],"wp:attachment":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=7119"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=7119"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=7119"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}