Laurel Nakadate knows how to get a rise out of people. Her work
explores the tyranny of the male gaze, but who exactly the victims are in her
videos, photographs, installations, and films is debatable. In her second
Wolf Knife (2010), a pair of teenaged
girls go on a road trip from Florida to Tennessee in search of one's
Among Peter Greenaway's
impenetrably beautiful and maddeningly symmetrical films, The Belly Of An Architect (1987) might be the most accessible. In it a rotund
Brian Dennehy plays Stourley Kracklite (a name worthy of Edward Gorey), the
designer of the title, who travels to Rome with his young wife (Chloe Webb) for
an exhibition of his favorite architect, the visionary 18th century genius Étienne-Louis Boullée.
You don't need a bike to demonstrate your auteur skills
during Home Movie Day,
which takes place today at venues around the world, and locally at the HFA.
Anyone can contribute a short film in 8 mm, 16 mm, VHS, or DVD formats. As John
Waters said, "There's no such thing as a bad home movie." Here's a chance to
put that statement to the test! The Archive is in the Carpenter Center, 24
Quincy St, Cambridge | Saturday, October 15 @ noon | $9; $7 students, seniors | 617.
Two of the most brilliant
women in film teamed up to make 35 Shots of Rum (2008) a
bittersweet, meditative, and visually sublime study of the changing
relationship between an aging father and his adult daughter as the former
retires and latter gets the itch to move on. Director Claire Denis captures the
mood and rhythms of her mentor, Yasujiro Ozu, and Agnès Godard's cinematography
sets the story intimately in the world of working class, multi-cultural
Agnés Godard is one of the
world's great cinematographers and has worked with the biggest names in cinema,
as is evident in the retrospective Agnés Godard's Inexhaustible Landscapes. Screening tonight is Erick Zonca's The
Dreamlife Of Angels (1998), the story of
the bond between two plucky working-class women and the ne'er-do-well who
threatens to come between them.
Excerpt from Out of the Present (1999)
Romania has produced some great feature
film directors of late; lesser known are its outstanding documentarians. Such
as Andrei Ujica, who takes found footage and archival material and shapes them
into poetic - and sometimes self-referential - investigations into the past and
its implications for the present and future.
Baltimore has given birth to its share of
disparate filmmakers, including Barry Levinson, John Waters, and now Matt Porterfield, who presents his two features this week
at the Harvard Film Archive. The first is Putty
Hill (2010), which takes place in a working class section
of Porterfield's hometown, where a group of disaffected teens gather when a
friend dies of an overdose.
The title of the HFA's retrospective For My Crushed Right Eye:
The Visionary Films Of Toshio Matsumoto suggests a messier version
of the infamous razor blade scene in Buñuel's Un chien
The veteran Japanese director's work lives up to the comparison, challenging
conventions with his formal experimentation and transgressive subjects as much
as Buñuel did with his surrealism.
Recent Italian politics have been chaotic and
outrageous - so what else is new? As can be seen in the terrific period films
in the Harvard Film Archive's series Viva
L'italia! The Risorgimento On Screen, that's pretty much the
way it's always been. The program opens with Luchino Visconti's masterpiece, Senso (1954; 7 pm), a lushly
romantic extravaganza set during the 19th century Italian war for independence
in which a patriotic Venetian countess falls in love with an officer of the
occupying Austrian army.
Rainer Werner Fassbinder, who died in 1979 at the age
of 37, made more than 40 films in 10 years, a body of work that continues to
impress with its audacity, originality, and skewed beauty. One work that got
lost in the shuffle is his sole foray into sci-fi, the recently restored 210-minute
TV movie World
On A Wire (1972), an adaptation of
the Daniel F.
The Ghost and Mrs. Muir (1947)
Ghosts were once less disagreeable on the big
screen than they are today. Compare the specter in, say, Paranormal
with the spook in Joseph L. Mankiewicz's The
Ghost and Mrs. Muir (1947; 7 pm). He's the sexy, pipe-smoking,
bearded sea captain (Rex Harrison), who proves erotically titillating to the
widow (Gene Tierney), when she moves into the quaint cottage he haunts.
"Wild Night in Reno"
As was seen in a program last year at the HFA, George
Kuchar is best known for his no-budget, John Waters-like trash epics made with
his brother Mike. But he has a more romantic side, as well (as in Caspar David
Friedrich), which can be seen in another HFA series, George Kuchar's Weather
Diaries, a collection of short
films he made over the years about the extreme weather in Oklahoma, and the folks who love it.
The Barefoot Contessa (1954)
Joseph L. Mankiewicz's All
About Eve (1950) is included in just about everyone's top 10
best Hollywood movies list, and the line "Fasten your seatbelts. Its going to
be a bumpy night" comes in at #9 in the AFI's list of greatest movie quotes.
But that film is just one of the nearly two dozen Mankiewicz turned out in his
richly varied, remarkable career.
Woody Allen has a little fun with one of the great
filmmakers of all time in his new film Midnight in Paris by
having him look confused when Owen Wilson suggests to him the plot of what
would eventually be his film The Exterminating Angel
(1962). But the real Luis Buñuel knew his way around a surreal concept, as can
be seen in the films opening the retrospective Bunuel:
The End And the Beginning