Green-Wood Cemetery is among the many historic locations opening its doors and gates to visitors for free during openhousenewyork Weekend (photo by twi-ny/mdr)
Multiple venues in all five boroughs
Saturday, October 6, and Sunday, October 7
Admission: free (advance reservations required for some sites)
OHNY Passport: $150
212-991-OHNY
www.ohny.org
The fabulous openhousenewyork Weekend celebrates its tenth anniversary by once again offering people the opportunity to experience the nooks and crannies of many of New York City’s most fascinating architectural constructions. Among this year’s special programs, some of which require advance reservations even though admission is free, are Designers’ Open House, with such interior designers as Thomas Jayne, Ali Tayar, Paul Ochs, Aizaki Allie, Christopher Coleman, and Lea Ciavarra inviting guests into their private homes; the Peace Bike Ride led by Nadette Stasa of Time’s Up!; a treasure hunt for kid explorers at the Park Avenue Armory; “Dance on the Greenway,” with Dance Theatre Etcetera performing site-specific pieces by four emerging choreographers in Erie Basin Park behind the Red Hook IKEA; “Paseo,” consisting of short works by choreographer Joanna Haigood and composer Bobby Sanabria that take place on fire escapes and stoops at Casita Maria in the Bronx; “Spirits Alive,” with actors in period costumes portraying famous people buried in the Maple Grove Cemetery in Kew Gardens; “Wilderness Plan,” in which costumed dancing creatures lead people through the Elevated Acre in the Financial District; and “Frost Court,” a performance installation featuring dancers Jon Kinzel, Silas Riener, Stuart Shugg, Saul Ulerio, Enrico Wey, and Aaron Mattocks. Although some of the special tours are already booked, plenty of others have vacancies or are first come, first served (unless you buy a $150 front-of-line Passport), so you can still check out the Fading Ads of New York City with Frank Jump, the Manhole Covers of Fourteenth St. with Michele Brody, the Museum of Reclaimed Urban Spaces, the Harlem Edge: 135th St. Marine Transfer Station, the Bronx River Right-of-Way, the Kings County Distillery Tour, Historic Richmond Town, the Noguchi Museum, the New York City Photo Safari for shutterbugs, the Lakeside at Prospect Park Construction Tour, the Mount Vernon Hotel Museum & Garden, the Tenriko Mission New York Center, the Alice Austen House Museum, Fort Totten, the Snug Harbor Cultural Center & Botanical Garden, the Grand Lodge of Masons, the New York Marble Cemetery and the New York City Marble Cemetery, the Theodore Roosevelt Birthplace, Scandinavia House, the Morris-Jumel Mansion, Merchant’s House Museum, the Jefferson Market Library, the Little Red Lighthouse, the High Line, the African Burial Grounds, and so many, many more. The annual opendialogue series features talks and tours at such locations as the Brooklyn Navy Yard Center at BLDG 92, Runner & Stone, UrbanGlass, the East Harlem School, the Horticultural Society of New York, the Museum of the Moving Image, New York City Center, and the TWA Flight Center at JFK. Keep watching the official website for late changes, additions, sell-outs, and other updated information.
Lee Sang-woo, the Ogre of Korean Independent Cinema behind such cutting-edge, controversial low-budget films as Mother Is a Whore and Father Is a Dog, is back with the lame, lurid Fire in Hell. After being caught having a sexual tryst in a temple, a Korean monk winds up in a Filipino mansion, where a Christian minister attempts to rehabilitate a small group of violent criminals. The sex-obsessed monk, Ji-wol (Won Tae-hee), is soon in the midst of a torrid affair with Yeon-hwa (Cha Seung-min), the beautiful young woman who runs things at the mansion. Ji-wol says very little, but slowly, as the events that brought him to the Philippines reveal themselves in ever-more-graphic details, violence threatens to overwhelm everyone. Having trained on the sets of Kim Ki-duk’s Time and Breath, Lee certainly gained a knowledge of shock value, but his storytelling leaves a lot to be desired. Fire in Hell is an incomprehensible misogynistic mess, a manipulative piece of trash as the writer, director, editor, actor, and agent provocateur tacks on more and more ridiculous scenes, leading to a whirlwind, tragedy-filled ending that couldn’t come soon enough. Fire in Hell purports to be about basic human desires and faith, but instead it’s an absurd erotic thriller without the thrills, not even worthy of being shown on late-night cable, although it was, remarkably, selected for the Jeonju and Moscow International Film Festivals. Fire in Hell is screening on September 30 at 5:30, concluding MoMA’s third annual “Yeonghwa: Korean Film Today” series, a collaboration with the 
Born into a working-class family in Manchester in 1935, knighted architect Sir Norman Foster has spent the last forty years building some of the most impressive structures in the world. Titled after a question asked of him by Buckminster Fuller, How Much Does Your Building Weigh, Mr. Foster? examines the life and career of the intriguing character behind such innovative constructions as the London Stansted Airport terminal, the Sainsbury Centre for Visual Arts, the Sage Gateshead, the renovated Wembley Stadium, the Great Court at the British Museum, Millennium Bridge, Hong Kong International Airport at Check Lap Kok, and the futuristic Masdar City in Abu Dhabi. Written and narrated by architecture critic Deyan Sudjic, the director of London’s Design Museum, in a steady but worshipful tone, the film features interviews with artists Anish Kapoor, Richard Serra, Anthony Caro, and Cai Guo-Qiang, journalist Paul Goldberger, musician Bono, and numerous people from Foster + Partners, which employs thousands of men and women around the world. Directors Norberto López Amado and Carlos Carcas also speak at length with Foster himself, who waxes prophetic about artistic creation, environmental responsibility, and integrating his work with nature. The film examines Foster’s drawing method, the importance of building models even in the digital age, and his dedication to improving humanity’s existence on the planet in addition to delving into his personal life, from the tragic loss of his first wife to his obsession with flight and cross-country skiing. Director of photography Valentín Álvarez lovingly moves his camera in and around such remarkable Foster creations as the Hearst Tower in New York, the Reichstag restoration in Berlin, the Millau Viaduct in France, the Swiss Re Tower in London, HSBC headquarters in Hong Kong, and Beijing Airport, shooting them as if they were majestic cathedrals, accompanied by Joan Valent’s evocative score performed by the Bratislava Symphony Orchestra. Amado and Carcas steer clear of any controversy, which has accompanied numerous Foster projects, instead concentrating on his many successes and the mind of the man behind the myth, which is itself a remarkable creation. How Much Does Your Building Weigh, Mr. Foster? which flows like one of Foster’s buildings: elegant, organic, unique, and endlessly fascinating, will be screening September 30, October 7, and October 14 as part of Symphony Space’s ongoing Thalia Docs series.