JUBILEE (Derek Jarman, 1978)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Thursday, October 30, 7:00 & 9:30
Series runs October 30 - November 11
Back in May, we ventured out to BAM to see Derek Jarman’s cult classic, Jubilee, as part of the BAMcinématek series “Punk Girls.” We attended along with two friends, a British couple who were supposed to be in the movie but who somehow didn’t make it to the set for their scene. After seeing the 1978 film, they couldn’t have been happier that they weren’t part of this unwatchable disaster. The plot involves Queen Elizabeth I being sent into the future, into a postapocalyptic 1970s London; the cast includes Jenny Runacre as Bod and the queen, Nell Campbell as Crabs, the one-named Jordan as Amyl Nitrate, singer Toyah Willcox as Mad, theater star Ian Charleson as Angel, French chanteuse Hermine Demoriane as Chaos, Rocky Horror creator Richard O’Brien as John Dee, and Adam Ant as Kid, with a soundtrack by Brian Eno. (Be on the lookout for Siouxsie Sioux as well.) While some adore and treasure the film, others find it dubious at best and an embarrassing mess at worst. In a 2002 letter to Derek published in the Guardian, Jarman regular Tilda Swinton wrote, “It’s as cheeky a bit of inspired old ham punk spunk nonsense as ever grew out of your brain and that’s saying something: what a buzz it gives me to look at it now. And what a joke: there’s nothing an eighth as mad bad and downright spiritualized being made down here these days this side of Beat Takeshi,” a very different take from Vivienne Westwood, who designed a T-shirt back when the film was released that served as an open letter to Jarman, arguing, “I had been to see it once and thought it the most boring and therefore disgusting film I had ever seen. I went to see it again for after all, hadn’t you pointed your nose in the right direction? . . . I am not interested in however interestingly you say nothing. . . . You pointed your nose in the right direction then you wanked.” Jubilee, made in honor of Queen Elizabeth II’s silver jubilee year, is one of those films you have to see to believe, but we’re not about to recommend that you actually subject yourself to this inexplicable madness.
What’s more important is that Jubilee is kicking off the BAMcinématek series “Queer Pagan Punk: The Films of Derek Jarman,” comprising sixteen programs of shorts, music videos, and features he either directed or participated in another way; the series is part of the Jarman2014 celebration of the twentieth anniversary of his death. Among the films being shown, from October 30 to November 11, are Blue, Caravaggio, Sebastiane, Wittgenstein, War Requiem, The Garden, The Tempest, Edward II, The Devils, and The Last of England. In many ways, Jarman, also a painter and activist who died in 1994 at the age of fifty-four from an AIDS-related illness, was the British version of Andy Warhol, working with a Factory-like ensemble of actors, singers, and hangers-on while exploring life on the edge in his own inimitable style. During his career, he worked with Laurence Olivier and Marianne Faithfull, the Pet Shop Boys and Ken Russell, Tilda Swinton and Adam and the Ants, Judi Dench and the Sex Pistols, and many others — some from various artistic disciplines and some just picked up off the street, lending his films an appealing, experimental DIY quality. Just don’t start your exploration of his oeuvre with Jubilee.
Friday, October 31, 7:00 - 11:00
Sixth Ave. South & Spring St. to 16th St.
Admission/participation: free, but donations accepted
With the growing popularity of the Mermaid Parade and the Gay Pride March, the Village Halloween Parade might have lost its unique stature, but there’s still nothing quite like this annual tradition. The theme of the forty-first annual event is the Garden of Earthly Delights, so an endless pageantry of pleasure should be on display as hundreds of puppets, more than fifty music and dance groups, and just plain folk dress up and make their way from Sixth Ave. and Spring St. to Sixteenth St., led by Grand Marshal Whoopi Goldberg. As artistic and producing director Jeanne Fleming and master puppeteer Alex Kahn explain, “Although one often associates Halloween with things Infernal, this year’s Halloween Parade is headed to Paradise, or more specifically the Garden of Earthly Delights. Join us as we unearth the layers of Hieronymus Bosch’s timeless altarpiece, exploring the precarious borderland Garden between the primeval terrors of wilderness and the modern confines of civility. . . . It is a place of infinite possibilities and permutations contained within a finite and intimate space. Gardens are also places of forbidden delights and forgotten joys hidden away behind ivied walls and locked gates.” All costumed souls are invited to participate in the parade; just follow the very specific instructions here. And be on the lookout for the raising of the giant puppets, a treat not unlike the blowing-up of the balloons for the Thanksgiving Day Parade.
Shortly after the fatal Deepwater Horizon oil rig explosion on April 20, 2010, dumped more than two hundred million gallons of BP oil into the Gulf of Mexico, Alabama native and award-winning documentarian Margaret Brown (The Order of Myths, Be Here to Love Me: A Film about Townes Van Zandt) returned to the Gulf Coast, where she was raised, in order to make a very personal film about the disaster. But she ended up with so much more in The Great Invisible, a powerful, infuriating exploration of the tragedy and its lingering effects on the environment and local communities in Alabama, Louisiana, and Texas. Showing that the calamity is far from over, Brown speaks with survivor Douglas Brown, the chief mechanic on the rig who talks poignantly about what happened, sharing footage he took of the rig prior to the explosion; survivor Stephen Stone, a roustabout on the rig who now suffers from PTSD; attorney Keith Jones, whose son, Gordon, was one of the eleven workers killed in the explosion, and is now leading the fight to get justice for the victims in court; Latham Smith, a tugboat captain who was called in to help with the cleanup; oil and gas industry veteran Bob Cavnar, author of Disaster on the Horizon: High Stakes, High Risks, and the Story Behind the Deepwater Well Blowout; Roosevelt Harris, who volunteers for the Hemley Road Church of Christ Mobile Food Pantry, delivering food and emotional support to families whose livelihoods have been impacted by the disaster; a group of oil industry executives chatting among themselves; and Kenneth Feinberg, the dispute resolution specialist in charge of administering the BP Deepwater Horizon Disaster Victim Compensation Fund, which has not exactly made much of a difference. BP refused to participate in the film.
Brown supplements the film with devastating footage of the oil spill itself, maps that detail the breadth of the disaster, clips from congressional hearings that have gone nowhere, and news reports that have gotten fewer and fewer more than four years after the explosion. “Generally, it takes some kind of a traumatic event to change people’s behavior,” Cavnar says. “I’d hoped that the Deepwater Horizon was going to raise everybody’s consciousness, but it didn’t. And that’s the tragedy.” Winner of the Grand Jury prize at the SXSW Film Festival, The Great Invisible is the kind of documentary that you hope will raise people’s consciousness, especially that of the oil industry itself and the government, but, as the film shows, that appears to be highly unlikely as wealthy corporations once again trump regular citizens. The Great Invisible opens October 29 at the Village East; Brown will participate in Q&As after screenings on October 29 & 30 at 7:40 and November 1 at 2:00.
CLIMATES (IKLIMLER) (Nuri Bilge Ceylan, 2006)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Thursday, October 30, 7:30, and Wednesday, November 5, 4:00
Series runs October 29 - November 5
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk beginning at 9:30 am
Winner of the FIPRESCI Prize at the Cannes Film Festival and a selection of the New York Film Festival, Climates is a beautifully elegiac look at a desperate relationship set in modern-day Turkey. The film opens with Isa (writer-director Nuri Bilge Ceylan) and Bahar (Ebru Ceylan, Nuri’s real-life wife) visiting desert ruins. As he walks among ancient pillars, taking photos, she watches him from a distance; the silence is deafening. Later, on a beach, they agree to part ways; while he heads back into the arms of Serap (Nazan Kesal), a friend’s lover, she takes a job on a faraway television program, set in the bitter cold and snow. But Isa still can’t get the younger Bahar out of his mind. Climates features long scenes of little dialogue, with cinematographer Gökhan Tiryaki alternating extreme close-ups with gorgeous, nearly empty landscapes, shot in HD digital video, with a haunting piano-based score. Ceylan’s follow-up to Distant, which won the 2003 Jury Grand Prix at Cannes, Climates is a wrenching, challenging tale that will leave audiences emotionally exhausted. Climates is being shown at MoMA on October 30 at 7:30 and November 5 at 4:00 as part of the “Filmmaker in Focus” look at Ceylan, who will introduce the the October 30 screening with actor Mehmet Eryilmaz. The week-long festival runs October 29 to November 5 and also includes Ceylan’s latest film, Kis uykusu (Winter Sleep), in addition to 2011’s Bir Zamanlar Anadolu’da (Once Upon a Time in Anatolia), 2008’s Üç maymun (Three Monkeys), 2002s Uzak (Distant), 1999’s Mayis sikintisi (Clouds of May), and 1997’s Kasaba (The Small Town).
In Burnt Tongues: An Anthology of Transgressive Stories, which he edited with Richard Thomas and Dennis Widmyer, Chuck Palahniuk writes in his introduction, titled “The Power of Persisting,” “The worst thing you could do is read this book and instantly enjoy every word. This book, the book you’re holding, I hope you gag on a few words — more than a few. May some of the stories scar and trouble you. Whether you like or dislike them doesn’t matter; you’ve already touched these words with your eyes, and they’re becoming part of you. Even if you hate these stories, you’ll come back to them because they’ll test you and prompt you to become someone larger, braver, bolder.” Palahniuk could have just as well been referring to his own novels, intense tales that can provoke scarring and trouble, delighting and offending fans, often simultaneously. In works such as Rant: The Oral Biography of Buster Casey, Haunted, Invisible Monsters, and Fight Club, Palahniuk dares readers to keep turning pages even as the plots and characters he depicts go places no book has ever gone before. Palahniuk’s public events also go places no author has gone before, as he is known for throwing fake body parts into a costumed audience, as he did at New York Comic Con a few years back. (Chuck actually retweeted our posting of photos from that NYCC event, a seminal moment in our existence on Earth.) On Halloween, Palahniuk will be celebrating the release of his latest novel, Beautiful You (Doubleday, October 2014, $25.95), with a gathering at the powerHouse Arena in DUMBO, where it is demanded that fans come dressed in pajamas, referencing the new book, significant portions of which take place in the bedroom, “where a billion husbands are about to be replaced.” Palahniuk will also have an opening act, Fred Venturini, whose story “Gasoline” is featured in Burnt Tongues. Writing about last week’s San Francisco stop on the Better than Sex Tour, Burnt Tongues contributor Brandon Tietz explained, “There’s a proven formula for a Chuck Palahniuk reading, and he broke it down for me step-by-step: intro, candy toss, story reading, glowing beach ball rave, etc.,” in addition to a Q&A and a severed-arm giveaway. “Best. Reading. Ever,” he concluded. Tickets for the powerHouse extravaganza are $30 and include a presigned copy of Beautiful You. We can’t wait.