{"id":15712,"date":"2020-02-19T08:59:25","date_gmt":"2020-02-19T13:59:25","guid":{"rendered":"http:\/\/hunterword.com\/?p=15712"},"modified":"2022-01-12T20:55:26","modified_gmt":"2022-01-13T01:55:26","slug":"film-at-lincoln-center-mapping-bacurau-greggwmorris-march13-24","status":"publish","type":"post","link":"https:\/\/hunterword.com\/index.php\/film-at-lincoln-center-mapping-bacurau-greggwmorris-march13-24\/","title":{"rendered":"Mapping Bacurau, March 13-24"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-14501\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default.jpg\" alt=\"\" width=\"920\" height=\"517\" srcset=\"https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default.jpg 920w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default-300x169.jpg 300w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default-768x432.jpg 768w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default-560x315.jpg 560w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default-260x146.jpg 260w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/FLC_1600x900-01-920x517-c-default-160x90.jpg 160w\" sizes=\"auto, (max-width: 920px) 100vw, 920px\" \/><\/p>\n<h2>Mapping Bacurau is an extensive carte-blanche series by Kleber Mendon\u00e7a Filho and Juliano Dornelles on the occasion of their BACURAU theatrical release March 6 at the center. Described by IndieWire&#8217;s David Ehrlich as a wonderfully&#8221;demented Western about the perils of rampant modernization,&#8221; BACURAU exhilarated audiences at the the 2019 New York Film Festival and the 2019 Cannes Film Festival where it was awarded the Jury Prize.<\/h2>\n<p><center><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/Fhjqvb60LLw\" width=\"1000\" height=\"560\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" data-mce-type=\"bookmark\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/center>&nbsp;<\/p>\n<p>The co-directors&#8217; selection of films for March 13-24 charts the rich cinematic universe to which their inventive, anything-goes creation belongs, featuring works by John Carpenter, Sergio Corbucci, Eduardo Coutinho, Sergio Leone, and more. Creating one of the year&#8217;s most audacious and thrilling genre-benders, Brazilian critic-turned-filmmaker Kleber Mendon\u00e7a Filho (Aquarius, Neighboring Sounds) and co-director Juliano Dornelles (the production designer for Mendon\u00e7a Filho\u2019s previous features) draw on an intricate network of historical film references \u2013 from horror and Hollywood pulp to spaghetti westerns to Brazil\u2019s own sharply political Cinema Novo movement.<\/p>\n<p>Mapping Bacurau allows audiences to trace the rich and far-reaching influences on this heart-thumping class warfare fable.<\/p>\n<p>The series highlights a multitude of genre gems, with two spaghetti westerns set in the midst of the Mexican revolution: Sergio Corbucci\u2019s raw, action-packed Compa\u00f1eros in 16mm, starring Franco Nero and Tomas Milian, and Duck, You Sucker!, Sergio Leone\u2019s oft overlooked epic final western, which features an unforgettable score by Ennio Morricone.<\/p>\n<p>Mendon\u00e7a Filho and Dornelles have also selected hallmarks of the Brazilian Cinema Novo movement, including Ruy Guerra\u2019s seminal Berlinale Silver Bear winner, The Guns, which juxtaposes an impoverished group of pilgrims with a battalion of soldiers sent to instill order among them, and the rarely screened crime drama The Hour and Turn of Augusto Matraga, Roberto Santos\u2019s adaptation of Jo\u00e3o Guimar\u00e3es Rosa\u2019s short story of the same name.<\/p>\n<p>The series will additionally showcase essential \u201970s \u201cOzploitation\u201d films, including Colin Eggleston\u2019s edge-of-your-seat horror\/relationship-drama hybrid Long Weekend and Ted Kotcheff\u2019s Wake in Fright, which begins with hard-boozing and gambling and ends in a disturbing fever dream. Mapping Bacurau will also include the 4K restoration of Robin Hardy\u2019s folk horror classic The Wicker Man: The Final Cut and a 70mm blow-up print of Starman, John Carpenter\u2019s American West-set alien romance, featuring an Oscar-nominated performance from Jeff Bridges. <em>Organized by Dennis Lim and Tyler Wilson<\/em><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/fPeXQZ6irUk\" width=\"1000\" height=\"560\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\">When a suburban couple go camping for the weekend at a remote beach, they discover that nature isn&#8217;t in an accommodating mood.<span style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" data-mce-type=\"bookmark\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>Tickets go on sale Thursday, February 20 and are $15; $12 for students, seniors (62+), and persons with disabilities; and $10 for Film at Lincoln Center members. Save with the purchase of three tickets or more. Learn more at filmlinc.org.<\/p>\n<p><em>Acknowledgments: Kleber Mendon\u00e7a Filho and Juliano Dornelles; Kino Lorber; American Genre Film Archive; Canal Brasil; Luiz Carlos Barreto, Lucy Barreto and Paula Barreto, LC Barreto Produ\u00e7\u00f5es Cinematogr\u00e1ficas; Mar\u00edlia Pinhanez and Claudio Pinhanez; Peter Azen; Fabio Andrade.<\/em><\/p>\n<p>&nbsp;<\/p>\n<div id=\"m_-1961818935057643109text-block-1557766071029\">\n<div>\n<h2 align=\"center\"><u><b>FILMS &amp; DESCRIPTIONS<\/b><\/u><\/h2>\n<div align=\"center\">\n<p align=\"center\"><span lang=\"EN\">All screenings take place at the Francesca Beale Theater (144 W 65th St) unless otherwise noted.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"m_-1961818935057643109text-block-1557766109590\">\n<div>\n<p><b><span lang=\"EN\">Blood for Dracula<br \/>\n<\/span><\/b><b><span lang=\"EN\">Paul Morrissey, 1974, 35mm, 103m<br \/>\n<\/span><\/b>In this singularly hilarious take on Bram Stoker\u2019s vampire, Count Dracula is played by the inimitable Udo Kier (who also appears in a major supporting role in <i>Bacurau<\/i>). Searching for virgin blood, the Count comes upon the three beautiful daughters of an aristocratic landowner (Vittorio De Sica), but is interfered with by the estate caretaker (Joe Dallesandro). Produced by Carlo Ponti, filmed at Cinecitt\u00e0, and written, directed, and cast by Paul Morrissey (director of the Andy Warhol productions <i>Heat <\/i>and <i>Trash<\/i>), <i>Blood for Dracula<\/i> is a modern, daring, and outrageous version that breathes new life into an age-old tale.<br \/>\n<b><span lang=\"EN\">Wednesday, March 18, 9 pm<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cHow many Udos are out there? About 200? We chose this iconic, naughty \u201970s version where Paul Morrissey makes Dracula look and act like Udo Kier, quite an honor for the Prince of Darkness himself. Would love to open this screening with Madonna&#8217;s \u2018Deeper and Deeper\u2019 music video in which Udo stars (we saw it one night at dinner during the shooting of <\/span><\/i><span lang=\"EN\">Bacurau<i>). What a great memory of the super-wonderful Udo Kier.\u201d \u2014Kleber Mendon\u00e7a Filho <\/i><\/span><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/-mxhJzSKV08\" width=\"1000\" height=\"560\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Bye Bye Brazil<br \/>\n<\/span><\/b><b><span lang=\"EN\">Carlos Diegues, Argentina\/Brazil\/France, 1980, 35mm, 110m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Portuguese with English subtitles<br \/>\n<\/span><\/b>A pioneer of the revolutionary Cinema Novo movement, Carlos Diegues directed films that were an integral part of the cultural and sociopolitical struggles facing Brazil in the 1960s, particularly the country&#8217;s underexplored Afro-Brazilian heritage. One of his most essential works, <i>Bye Bye Brazil<\/i> concerns a motley crew of traveling performers entertaining various audiences across Brazil\u2019s northwestern Amazonian landscape. Accordionist Ci\u00e7o (F\u00e1bio J\u00fanior) and his wife Dasd\u00f4 (Zaira Zambelli) join the rollicking caravan, leading to a string of adventures. Diegues&#8217;s low-key road movie captures the country\u2019s changing times\u2014both the myth and the reality of Brazil\u2019s underdevelopment\u2014with documentary-like specificity.<br \/>\n<b>Sunday, March 15, 3:30pm<\/b><\/p>\n<p><i><span lang=\"EN\">\u201cThis big-hearted road movie by the great Carlos Diegues shows much love for Brazil as a nation and as a people. It also works as a documentary of sorts, capturing the backroads of the northern regions of the country in the late \u201970s. The \u2018snow\u2019 scene possibly led me to make one of my most popular short films, <\/span><\/i><span lang=\"EN\">Recife Frio (Cold Tropics)<i>; the traveling \u2018Rolidei\u2019 troupe likely led us to the \u2018pleasure truck\u2019 with sex workers in <\/i>Bacurau<i>. Rewatched this recently, found the very last credit at the end of the picture moving, given the state Brazil is in today: Diegues dedicates the film \u2018to all Brazilians of the 21st Century.\u2019\u201d \u2014KMF<\/i><\/span><\/p>\n<p><i><span lang=\"EN\">\u201cThe characters, landscapes, and colors that come and go in this road movie are so honestly Brazilian that the story may even walk in the direction of fantasy, surrealism, or absurdity that will not cease to be radically realistic.\u201d \u2014Juliano Dornelles<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Compa\u00f1eros \/ Vamos a matar, compa\u00f1eros<br \/>\n<\/span><\/b><b><span lang=\"EN\">Sergio Corbucci, Italy\/Spain\/West Germany, 1970, 16mm, 115m<br \/>\n<\/span><\/b>Sergio Corbucci\u2019s remake of his own film <i>The Mercenary<\/i> pairs spaghetti western stalwarts Franco Nero and Tomas Milian as an odd couple caught in the middle of the Mexican Revolution. Suave Swedish arms dealer Yodlaf Peterson (Nero) and trigger-happy bandit El Vasco (Milian) join forces to kidnap a professor (Fernando Rey) who knows the combination to a safe full of gold\u2014a task made harder thanks to the entrance of Peterson\u2019s embittered ex-business partner, a wooden-armed American (a scene-stealing Jack Palance).\u00a0Featuring a remarkable score by genre maestro Ennio Morricone, <i>Compa\u00f1eros<\/i> is a delirious, action-packed comedy enlivened by the antagonistic chemistry between Nero and Milian. Presented in the English-language version.<br \/>\n<b><span lang=\"EN\">Monday, March 23, 9 pm<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cAt some point we got writer&#8217;s block, and after a few hours of procrastination, we went downstairs and played this. It&#8217;s raw, violent, and dirty, possibly inspired by the political climate at the time, from Cuba to Vietnam, dressed as a spaghetti western set in Mexico, shot in Spain. Wonderful. We got back to writing the following day.\u201d \u2014KMF<\/span><\/i><\/p>\n<p><i><span lang=\"EN\">\u201cThe rawness and truth of dirty and sweaty faces and bodies, the relationship between the poor population and their military leaders, demagogues, and oppressors. Brave characters of revolution or banditry surviving a series of tragic situations with humor and pragmatism. This could be a summary of many spaghetti westerns, but in the case of <\/span><\/i><span lang=\"EN\">Compa\u00f1eros<i>, these features are very clear.\u201d \u2014JD<\/i><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-14499\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-300x98.jpg\" alt=\"\" width=\"300\" height=\"98\" srcset=\"https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-300x98.jpg 300w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-768x250.jpg 768w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-560x182.jpg 560w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-260x85.jpg 260w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-160x52.jpg 160w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo.jpg 1000w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Duck, You Sucker! \/ Gi\u00f9 la testa<br \/>\n<\/span><\/b><b><span lang=\"EN\">Sergio Leone, Italy\/Spain, 1972, 35mm, 138m<br \/>\n<\/span><\/b>The struggles of the \u201970s are transposed to the front lines of the Mexican Revolution in Sergio Leone\u2019s last Zapato western. James Coburn is an IRA dynamite expert on the lam who teams up with a Mexican bandit (Rod Steiger); together they become accidental revolutionaries when they case a bank that\u2019s been transformed into a political prison by the Mexican government. <i>Duck, You Sucker! <\/i>is infamous for its confusing theatrical release\u2014it was released as both <i>A Fistful of Dynamite<\/i> and <i>Once Upon a Time&#8230; the Revolution\u2014<\/i>but Leone pulls out all the stops for this epic western-cum-war-picture, which features one of Ennio Morricone\u2019s finest scores, spectacularly explosive set pieces, and healthy doses of the director\u2019s idiosyncratic humor.<br \/>\n<b><span lang=\"EN\">Friday, March 20, 9 pm<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cWe did not see this during work on <\/span><\/i><span lang=\"EN\">Bacurau<i>, simply because it is one of those films that live in you. We did, however, specifically discuss the \u2018first class\u2019 carriage scene, and also the opening note about revolutions not being \u2018nice\u2019 or \u2018polite.\u2019 Oh, and just about every shot is a pleasure.\u201d \u2014KMF<\/i><\/span><\/p>\n<p><i><span lang=\"EN\">\u201cResistance, revenge, or opportunism? The film begins with an energetic quote from Mao Tse Tung: \u2018The revolution is not a social dinner, a literary event, a drawing, or an embroidery; it cannot be done with elegance and courtesy. The revolution is an act of violence\u2026\u2019 This Western is perhaps unfairly considered one of the lesser known films of the great Sergio Leone, whose charismatic, villainous protagonists steal, kill, and blow up banks \u2018in the name of the revolution.\u2019\u201d \u2014JD<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">The Guns \/ Os Fuzis<br \/>\n<\/span><\/b><b><span lang=\"EN\">Ruy Guerra, Brazil\/Argentina, 1964, 80m<br \/>\n<\/span><\/b>Made in response to an actual incident that occurred in Brazil in 1924 when a group of soldiers shot and killed a sacred ox, Ruy Guerra\u2019s Berlinale Silver Bear-winner is one of the most important works of Brazilian cinema. Shot amidst a drought-stricken <i>sert\u00e3o<\/i> of Northeastern Brazil, <i>The Guns<\/i> alternates between two stories: a group of starving pilgrims who follow an ox deemed sacred by a holy man; and a battalion of soldiers sent to the same region to protect a wealthy politician\u2019s warehouse from the poor locals. Along with N\u00e9lson Pereira dos Santos&#8217;s <i>Barren Lives<\/i>, and Glauber Rocha&#8217;s <i>Black God, White Devil<\/i>, Guerra\u2019s film is considered part of the &#8220;Golden Trilogy&#8221; of Cinema Novo.<br \/>\n<b><span lang=\"EN\">Sunday, March 22, 3:30pm<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cA small group of soldiers is sent to control an entire village of people being choked by the current power. The proud cult of firearms and the dismay over the violent consequences painfully alienate these men from their own humanity.\u201d \u2014JD<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">The Hour and Turn of Augusto Matraga \/ A hora e vez de Augusto Matraga<br \/>\n<\/span><\/b><b><span lang=\"EN\">Roberto Santos, Brazil, 1965, 109m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Portuguese with English subtitles<br \/>\n<\/span><\/b>An adaptation of Jo\u00e3o Guimar\u00e3es Rosa\u2019s <i>Sagarana<\/i>\u2014a haunting short story collection about people of the <i>sert\u00e3o<\/i> in the southeastern Brazil state of Minas Gerais\u2014Roberto Santos\u2019s Cinema Novo western follows the mythical \u201chero\u2019s journey\u201d of Augusto Matraga (Leonardo Villar), a violent farmer who is betrayed by his wife and left for dead. After he is rescued by a pair of farmers, Matraga devotes his life to contrition until the opportunity for revenge arrives. Featuring a superb score by Geraldo Vandr\u00e9, <i>The Hour and Turn of Augusto Matraga<\/i> is a lyrical revenge film that foregrounds faith and spiritualism.<br \/>\n<b><span lang=\"EN\">Tuesday, March 17, 9 pm (Introduction by Roberto Santos\u2019s son, Claudio Pinhanez)<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cWhat a wonderful film. I remember the day Juliano brought the theme song by Geraldo Vandr\u00e9 and we listened to it at the editing: \u2018R\u00e9quiem Para Matraga.\u2019 It fit right in, as music, editing, and feeling carried over from this classic film.\u201d \u2014KMF<\/span><\/i><\/p>\n<p><i><span lang=\"EN\">\u201cMatraga rediscovers his violent past and abuse when he needs justice. Just like Ac\u00e1cio (Pacote), who needs to defend his village with the same violence. Geraldo Vandr\u00e9&#8217;s beautiful music was composed for <\/span><\/i><span lang=\"EN\">Matraga<i>, a requiem we borrowed to accompany Ac\u00e1cio&#8217;s return to the violent universe that he so wanted to leave behind.\u201d \u2014JD<\/i><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-14499\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-300x98.jpg\" alt=\"\" width=\"300\" height=\"98\" srcset=\"https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-300x98.jpg 300w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-768x250.jpg 768w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-560x182.jpg 560w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-260x85.jpg 260w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-160x52.jpg 160w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo.jpg 1000w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p><b><span lang=\"EN\">Lone Star<br \/>\n<\/span><\/b><b><span lang=\"EN\">John Sayles, USA, 1996, 135m<br \/>\n<\/span><\/b>After the bones of a despised former sheriff are exhumed in the desert of a Texas town near the Mexican border, the current sheriff (Chris Cooper) begins to unearth a network of secrets kept by the locals. Featuring an ensemble of fully lived-in performances by Cooper, Kris Kristofferson, Matthew McConaughey, and Elizabeth Pe\u00f1a, among the very finest films in the storied career of the great American independent filmmaker John Sayles, <i>Lone Star<\/i> is an intricately staged, spellbinding neo-western set in a finely shaded world of psychologically complex characters, and one of cinema\u2019s most searing portraits of border town politics.<br \/>\n<b><span lang=\"EN\">Monday, March 16, 9 pm<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cOne of the great American films of the last 30 years, this has had an impact on my three features, especially <\/span><\/i><span lang=\"EN\">Neighboring Sounds<i> and <\/i>Bacurau<i>. Very much about archaeology applied to personal history, which naturally becomes both political and social. Texas is a fascinating landscape in U.S. cinema, but rarely has it been dissected like here. The way Sayles looks at what is buried below ground is just a beautiful idea. And seen today in the Trump era, <\/i>Lone Star<i> feels especially moving.\u201d \u2014KMF<\/i><\/span><\/p>\n<p><i><span lang=\"EN\">\u201cAs men search for artifacts in the desert\u2014after finding a skull, a Masonic ring, and a metal star\u2014a sheriff comments, \u2018This land has witnessed a large number of disagreements.\u2019 It could be in northeastern Brazil, but it is on the border between the United States and Mexico.\u201d \u2014JD <\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Long Weekend<br \/>\n<\/span><\/b><b><span lang=\"EN\">Colin Eggleston, Australia, 1978, 97m<br \/>\n<\/span><\/b>While on a weekend camping trip on a remote beach, an unhappy suburban couple show little respect for the environment and encounter the bizarre but karmic vengeance of the outback. Worlds removed from monstrous creature features like <i>Jaws<\/i>, <i>Long Weekend<\/i> is a stark, unsettling, and nail-bitingly intense work of natural horror in which the critters are unassuming and the vulgar and toxically codependent human protagonists are almost entirely unsympathetic. Eggleston delivers both a thrilling genre film and a devastating takedown of environmental abuse. Restoration courtesy of Umbrella Entertainment and the American Genre Film Archive.<br \/>\n<b><span lang=\"EN\">Thursday, March 19, 9 pm*<br \/>\n<\/span><\/b><b><span lang=\"EN\">*Walter Reade Theater, 165 W 65th Street<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cI love this WTF revenge-of-nature Australian movie from \u2018the \u201970s,\u2019 and of course when I say \u2018the \u201970s\u2019 I don\u2019t mean just the decade but that period of now unusual, radical they-don\u2019t-make-\u2019em-like-that-<wbr \/>anymore movies. We saw this during the writing stage. It\u2019s just our kind of thing&#8230; It\u2019s actually a little movie shot big on Panavision, a marriage horror story set on a beautiful beach. I always thought this might have led Lars von Trier to make <\/span><\/i><span lang=\"EN\">Antichrist<i>. \u2014KMF<\/i><\/span><\/p>\n<p><i><span lang=\"EN\">\u201cA couple on a desert island. Nature here is objectively a single organism that reacts physically to successive abuses. Probably the craziest movie in this selection, and undoubtedly one of the most fun.\u201d \u2014JD<\/span><\/i><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-14499\" src=\"http:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-300x98.jpg\" alt=\"\" width=\"300\" height=\"98\" srcset=\"https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-300x98.jpg 300w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-768x250.jpg 768w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-560x182.jpg 560w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-260x85.jpg 260w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo-160x52.jpg 160w, https:\/\/hunterword.com\/wp-content\/uploads\/2019\/07\/Film-at-Lincoln-Center-logo.jpg 1000w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p><b><span lang=\"EN\">Southern Comfort<br \/>\n<\/span><\/b><b><span lang=\"EN\">Walter Hill, USA\/Switzerland\/UK, 1981, 35mm, 106m<br \/>\n<\/span><\/b>The specter of the Vietnam War looms over a squad of National Guards when their weekend exercise in a Louisiana swamp turns into a violent survival game with a group of Cajuns. Shooting entirely on location, director Walter Hill (<i>The Warriors<\/i>) extracts palpable tension from one relentless white-knuckled sequence after another. A muddy, bloody, brutal vision of the American South, this backwoods horror masterpiece is packed with inventive filmmaking\u2014a soundtrack by Ry Cooder; a sustained, expertly modulated claustrophobic atmosphere; and a treasure trove of character actors of the era, including Keith Carradine, Fred Ward, and Powers Boothe.<br \/>\n<b><span lang=\"EN\">Saturday, March 21, 3:30pm<\/span><\/b><span lang=\"EN\"><br \/>\n<i>\u201cI remember standing in front of the poster for this film, at a cinema in England, in 1983, the shape of a man holding a knife in a swamp. At 14, you ask yourself, \u2018How am I going to get in to see that?\u2019 (It was then rated X in Britain). <\/i><\/span>Southern Comfort<i> is that rare breed of the \u2018scary thriller,\u2019 not quite a horror film, but eerie in its own way. As in <\/i>The Wicker Man<i> and <\/i>Wake in Fright<i>, it\u2019s here as another reference for the portrayal of a community on high alert, though things get even more interesting with references to Vietnam. Walter Hill is one of the great American filmmakers.\u201d \u2014KMF<\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Starman<br \/>\n<\/span><\/b><b><span lang=\"EN\">John Carpenter, USA, 1984, 70mm, 115m<br \/>\n<\/span><\/b>After the disappointing box office returns from his horror classics <i>The Thing<\/i> and <i>Christine<\/i>, John Carpenter departed from his usual style with <i>Starman<\/i> as a way to ensure his bankability in Hollywood, and created something emotionally moving and visually accomplished. Shot throughout the American West, this sad-toned sci-fi love story tells the story of an alien (Jeff Bridges) who takes the form of the deceased husband of a young Wisconsinite (Karen Allen), whom he forces to take him to Arizona. All the while, government agents chase them. <i>Starman<\/i> is alternately a warm romance and a melancholic ghost story with the breezy pacing of a road movie, and earned Bridges a Best Actor Oscar nomination.\u00a0Screening from an original release 70mm blow-up print!<br \/>\n<b>Thursday, March 19, 6:30pm<\/b>*<br \/>\n*Walter Reade Theater, 165 W 65th Street<\/p>\n<p><i><span lang=\"EN\">\u201cQuite a pleasure to screen a Carpenter in 70mm, from his big studio period. <\/span><\/i><span lang=\"EN\">Starman <i>not only gave us our opening credits but also something that I personally carry with me in ways I can\u2019t help. The man is for me as influential as Hitchcock, Scorsese, Verhoeven, and Leone. We even play \u2018Night,\u2019 one of his amazing music tracks, in a key sequence. I love John Carpenter.\u201d \u2014KMF<\/i><\/span><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/FGrcpTATAJc\" width=\"1000\" height=\"560\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Twenty Years Later \/ Cabra Marcado para morrer<br \/>\n<\/span><\/b><b><span lang=\"EN\">Eduardo Coutinho, Brazil, 1984, 119m<br \/>\n<\/span><\/b><b><span lang=\"EN\">Portuguese with English subtitles<br \/>\n<\/span><\/b>In 1964, Eduardo Coutinho was at work on a film about Jo\u00e3o Pedro Teixeira, who was murdered by the police as a result of his efforts to organize farm workers in northeast Brazil. The director cast non-actors in the production, including Teixeira&#8217;s widow, who plays herself, but shooting was cut short in the wake of the military coup that same year; footage was seized, a number of participants imprisoned. The project was resumed 20 years later, as the country was transitioning to a democracy, but had begun to take a rather different shape: Coutinho incorporated the earlier material as well as new interviews and reflections, yielding a prismatically reflexive, genre-defying essay on political commitment and life under dictatorship.<br \/>\n<b><span lang=\"EN\">Friday, March 13, 9:30pm (Introduction by Kleber Mendon\u00e7a Filho and Juliano Dornelles)<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cThe Teixeira family was destroyed by political violence. It\u2019s a film that morphed into another through 20 years of Brazilian history; a work of cinema that haunts me since I first saw it in the \u201980s, Coutinho shot about 100 miles from where I was born and live. I never really miss an opportunity to screen <\/span><\/i><span lang=\"EN\">Cabra Marcado,<i> in Brazil or abroad. I always thought Neighboring Sounds was the one film I made that is a direct reaction to Eduardo Coutinho\u2019s masterwork. During <\/i>Bacurau<i> I realized it just keeps coming back. Viva Jo\u00e3o Pedro and Elizabete Teixeira.\u201d <\/i><\/span><i><span lang=\"EN\">\u2014KMF <\/span><\/i><\/p>\n<p><i><span lang=\"EN\">\u201cIn <\/span><\/i><span lang=\"EN\">Twenty Years Later<i>, the lower-class people, usually represented as unknown and unnamed, have not only their full names but also their history and complexity. It\u2019s a film that is so accurate in portraying Brazil\u2019s historical class conflicts that it can be seen as a common story of the present day (including a lot of fake news spread in those old newspapers). Jo\u00e3o Pedro, Elizabete, and their kids could easily be Bacurau villagers. And I believe they are.\u201d \u2014JD <\/i><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">Wake in Fright<br \/>\n<\/span><\/b><b><span lang=\"EN\">Ted Kotcheff, Australia, 1971, 108m<br \/>\n<\/span><\/b>Directed by Ted Kotcheff (<i>First Blood<\/i>) and starring Donald Pleasence, <i>Wake in Fright <\/i>follows a teacher (Gary Bond) who arrives in the rough outback mining town of Bundanyabba and ends up going on a days-long, self-destructive bender. With its bizarre cast of characters, outlandish psychedelic sequences, and dehydrated visual palette, <i>Wake in Fright<\/i> is a brutal, visceral overlooked gem of the Australian New Wave that unravels like a feverish nightmare.<br \/>\n<b><span lang=\"EN\">Saturday, March 14, 3:30pm (Introduction by Kleber Mendon\u00e7a Filho and Juliano Dornelles)<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cA horror film like no other, it relies on this relentless feeling of menace and tolerance (or dismay) for extreme human behavior. <\/span><\/i><span lang=\"EN\">Wake in Fright<i> was a reference for location work, the peculiar logic of insular communities, and the use of amazing faces, professional and nonprofessional. One of my favorite films.\u201d \u2014KMF<\/i><\/span><\/p>\n<p><i><span lang=\"EN\">\u201cTorpor, delirium and violence in the confines of the Australian outback, an environment easily comparable to the Brazilian sert\u00e3o. Anyone can easily have unpleasant experiences when they don&#8217;t understand where they are and who the people are.\u201d \u2014JD<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><b><span lang=\"EN\">The Wicker Man: The Final Cut<br \/>\n<\/span><\/b><b><span lang=\"EN\">Robin Hardy, UK, 1974, 94m<br \/>\n<\/span><\/b>Robin Hardy\u2019s brilliant folk horror classic follows a devoutly Christian policeman, Howie (Edward Woodward), who travels to a remote Scottish island to investigate a lead on a missing girl. The island\u2019s pagan inhabitants, whose bizarre rituals and allegiance to their leader, Lord Summerisle (Christopher Lee, who appeared in the movie for free), lead the increasingly offended Howie down a rabbit hole\u2014and into one of the most terrifying climactic sequences in horror film history. Approved by director Robin Hardy, this is a 4K restoration of the most complete version of <i>The Wicker Man.<br \/>\n<\/i><b><span lang=\"EN\">Tuesday, March 24, 9:00pm<\/span><\/b><\/p>\n<p><i><span lang=\"EN\">\u201cI love the feeling of \u2018Where is this going?\u2019\u2014until it becomes \u2018Where is he going?\u2019 And finally, \u2018Where are they takin\u2019&#8230;?!\u2019 We wanted some of that in <\/span><\/i><span lang=\"EN\">Bacurau<i>. Tricky thing, of course, was to avoid the \u2018strange, evil blonde community\u2019 vibe for <\/i>Bacurau<i>. <\/i>The Wicker Man<i> is a great film.<\/i>\u201d<i> \u2014KMF<\/i><\/span><\/p>\n<p><i><span lang=\"EN\">\u201c<\/span><\/i><span lang=\"EN\">The Wicker Man<i> was a seminal influence on <\/i>BAUCARU <i>because it built this completely surprising and offbeat human environment very naturally. An outsider who arrives in a small village needs to immediately understand that there is no such thing as \u2018simple people.\u2019 Your morals and beliefs will probably only apply to you.\u201d \u2014JD<\/i><\/span><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/yXFYU3v-wL4\" width=\"1000\" height=\"560\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" data-mce-type=\"bookmark\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<div align=\"center\">\n<div>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\"><b><u><span lang=\"EN\">FILM AT LINCOLN CENTER<br \/>\n<\/span><\/u><\/b><\/p>\n<p style=\"text-align: left;\"><span lang=\"EN\">Dedicated to supporting the art and elevating the craft of cinema and enriching film culture, <\/span><span lang=\"EN\">Film at Lincoln Center fulfills its mission through the programming of festivals, series, retrospectives, and new releases; the publication of <i>Film Comment<\/i>; 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.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Another Film at Lincoln Center whopper: Mapping Bacurau is an extensive carte-blanche series by co-directors Kleber Mendon\u00e7a Filho and Juliano Dornelles on the occasion of their BACURAU theatrical release March 6 at the center. Their film was described by IndieWire&#8217;s David Ehrlich as a wonderfully &#8220;demented Western about the perils of rampant modernization&#8221; which exhilarated audiences at the the 2019 New York Film Festival and the 2019 Cannes Film Festival where it was awarded the Jury Prize. That remarkably demented zeitgeist infuses the March 13-24 series. <\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/hunterword.com\/index.php\/film-at-lincoln-center-mapping-bacurau-greggwmorris-march13-24\/\">Read more &rarr;<\/a><\/p>\n","protected":false},"author":29,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[1546,1547,1553,1555,1545,1544,1551,1549,1548,1552,234,1558,1550,1554,1557,1556],"class_list":["post-15712","post","type-post","status-publish","format-standard","hentry","category-archives","tag-american-genre-film-archive","tag-canal-brasil","tag-claudio-pinhanez","tag-fabio-andrade","tag-juliano-dornelles","tag-kleber-mendonca-filho","tag-lc-barreto-producoes-cinematograficas","tag-lucy-barreto","tag-luiz-carlos-barreto","tag-marilia-pinhanez","tag-new-york-city-film-festivals","tag-new-york-film-festival","tag-paula-barreto","tag-peter-azen","tag-westerns","tag-zany-movies"],"_links":{"self":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/15712","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/comments?post=15712"}],"version-history":[{"count":24,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/15712\/revisions"}],"predecessor-version":[{"id":15736,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/15712\/revisions\/15736"}],"wp:attachment":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=15712"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=15712"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=15712"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}