Who: Dhani Harrison
What: Panorama festival
Where: Randall’s Island Park
When: Sunday, July 30, the Parlor, $125, 4:30
Why: If the voice on Dhani Harrison’s “All About Waiting” sounds familiar, it shouldn’t be too surprising. The thirty-eight-year-old musician is the son of Beatle George Harrison and his wife, Olivia, and he’s releasing his debut solo album, In/Parallel, on October 6. He not only looks and sounds like his father but also shows the Quiet Beatle’s knack for creating progressive, psychedelic music. “Revolution evolution patience / revolution evolution wasted,” he sings over a driving electro-beat on “All About Waiting,” then repeats, “It’s not like it used to be.” Harrison is also the lead singer and guitarist for Thenewno2 (yes, it’s a reference to The Prisoner), writing and performing the soundtrack for the film Beautiful Creatures, which they recorded at Abbey Road Studios. In/Parallel also features such tracks as “Never Know,” “#WarOnFalse,” “Úlfur Resurrection,” and “Admiral of Upside Down.” Harrison will be playing the Parlor at Panorama at 4:30 on Sunday, July 30; you can see the full schedule for Sunday below.
On streets and in parks all around New York City, tourists pay to get their portraits or caricatures drawn. Puerto Rican sculptor and performance artist Jesús “Bubu” Negrón turns that around, literally and figuratively, in “The Back Portrait,” an ongoing project he conceived in San Juan in 2000 and is coming to the High Line July 25-27. From two o’clock to seven o’clock each day, Negrón will draw, using color markers and crayons, people sitting down with their backs to him. Negrón will give the sitter the original drawing, keeping a photocopy for himself to put on display, calling into question original works of art versus copies. Participation is free and first come, first served. Negrón’s previous work, which often equates “artists” with “artisans,” includes “[Standard memes (campaign for the awareness and activation of the neighborhood)],” in which local residents in San Juan helped revive derelict buildings in their communities via memes, “Honoris Causa,” in which Negrón invited two street vendors to set up their carts inside the Whitney lobby for the 2006 biennial, merging art with a different kind of commerce, and “Banco Marímbula,” a public square bench turned into a musical instrument using parts from a 1957 Victrola.
Last year’s inaugural Panorama festival was everything it promised it would be, three days of cool music, art, technology, and food on Randall’s Island. It’s back for its second go-round, taking place July 28-30. Tickets are $125 per day and $345 for the full weekend to see such performers as Future Islands, Girl Talk, MGMT, Spoon, Solange, DJ Shadow, and Frank Ocean on Friday, Belle & Sebastian, Matoma, Vince Staples, Motor City Drum Ensemble, and Tame Impala on Saturday, and Cloud Nothings, Justice, Glass Animals, a Tribe Called Quest, and Nine Inch Nails on Sunday at four different locations — the main stage, the Pavilion, the Parlor, and the Point. Eats and drinks will be available from El Paso, Oddfellows, Roberta’s Pizza, Salvation Taco, Ed & Bev’s, Loco Coco, Spicy Pie, Trapizzino, Uma Temakeria, Matchabar, Pasquale Jones, PDT, Sam’s Fried Ice Cream, and others. The Lab is also back, a 360-degree virtual-reality theater with such interactive works as Future Wife’s “Boolean Planet,” Emilie Baltz’s “Dream Machine,” Prism’s “Future Portrait,” Ekene Ijeoma’s “Heartfelt,” the Windmill Factory’s “Right Passage,” Dirt Empire’s “The Ark Dome Show,” and SOFTlab’s “Volume.” Among the sponsors selling products, giving away samples, and hosting unique experiences are Rough Trade, Barefoot Wine & Bubbly, Sephora, Califia, Macy’s Pool Party, Bai, the Global Inheritance Recycling Store, and Tullamore Dew. Keep watching twi-ny for daily highlights as the fest approaches.
FESTIVAL OF NEW JAPANESE FILM: ANTI-PORNO (ANCHI PORUNO) (アンチポルノ) (Sion Sono, 2016)
333 East 47th St. at First Ave.
Sunday, July 16, 8:45
Festival runs July 13-23
“I’m a virgin. A virgin, but a whore,” successful novelist, painter, and fashion designer Kyoko (Ami Tomite) says at the beginning of Sion Sono’s bizarre, deliciously candy-colored and anarchic Anti-Porno, making its East Coast premiere July 22 at 10:30 in Japan Society’s Japan Cuts: Festival of New Japanese Cinema. You never know what to expect from Siono, whose previous films include the wild and wacky Love & Peace, the wild and crazy Why Don’t You Play in Hell? and the strangely beautiful and touching Himizu. Anti-Porno is part of Nikkatsu’s Roman Porno Reboot Project, a celebration of the forty-fifth anniversary of the studio’s Japanese softcore films, which began in 1971 with Shōgorō Nishimura’s Apartment Wife: Affair in the Afternoon and continued through 1988 with Daisuke Gotō’s Bed Partner. In true Sono style, he honors the format by confusing fiction with reality, star characters with minor newbies, and the past with the present in ways that are as exhilarating as they are confounding. The story takes place primarily in a spectacular apartment decked out in bright yellows, blues, and reds, with large-scale paintings and a lushly alluring open bathroom. Kyoko is a self-obsessed terror who abuses her dedicated assistant, Noriko (Mariko Tsutsui) — or is it the other way around? “I want to be a whore like you,” Noriko begs. There’s fetishism galore, plenty of nudity, a lizard trapped in a bottle, incest, an audience of girls in Sailor Moon outfits, sycophantic hangers-on, a mysterious sex film, and then a man yells, “Cut!” Soon you’re not sure who’s in charge, who’s the lead, and whether you’re watching a movie, a movie-within-a-movie, or a novel-within-a-movie-within-a-movie. “This isn’t my life!” Kyoko screams. Or is it? Sono, who also wrote the script, uses the porn format to question ideas of sexuality, misogyny, freedom, abuse, feminism, exploitation, dominance, art, power, and pornography itself, resulting in a rousing, er, climax. The gorgeous production design is by Takashi Matsuzuka, with striking cinematography by Maki Ito, raunchy costumes by Kazuhiro Sawataishi, and an inventive, wide-ranging score by Susumu Akizuki. Because of the film’s graphic nature, no one under eighteen will be admitted to the Japan Society screening, which will be preceded by Sawako Kabuki’s hysterical three-minute X-rated animated vomitfest Summer’s Puke Is Winter’s Delight.
(SOMA)TIC POETRY RITUALS
Madison Square Park Oval Lawn
Twenty-Fourth St. between Madison & Fifth Aves.
Through July 23, free, 12 noon – 5:00 pm (workshops nightly at 6:00)
“Every single human being is creative. When we commit ourselves to nurturing our artistic capacities we improve our ability to more deeply discern the world around us and make the constructive decisions needed in order to thrive in this world,” fifty-one-year-old poet CAConrad writes in his (Soma)tic Manifesto. Through July 23, Conrad will be performing “(Soma)tic Poetry Rituals” in Madison Square Park, under one of American artist and MacArthur Fellow Josiah McElheny’s three sculptures that comprise “Prismatic Park,” a collaborative public art project that is hosting free dance, music, and poetry through October 8, sponsored by Danspace Project, Blank Forms, and Poets House. Born in Kansas and raised in Pennsylvania, Conrad is the author of such books as The City Real & Imagined, ECODEVIANCE: (Soma)tics for the Future Wilderness, and the upcoming While Standing in Line for Death. In 1998, Conrad’s boyfriend, AIDS activist Earth (Mark Holmes), was brutally raped, tortured, and murdered in Tennessee at the age of thirty-six. In order to break out of his subsequent depression and his inability to break away from a factorylike existence that had been with him since childhood when his family ran a casket company, Conrad developed rituals that helped respark his creative energy and his life in general. He is currently in the midst of a six-day residency in Madison Square Park, sitting (in the shade) at a small table under McElheny’s open red vaulted-roof pavilion (with red and yellow glass), where the public is invited to join him for approximately twenty minutes as Conrad develops a personalized (Soma)tic poetry ritual for each individual participant, involving crystals, liquids, and writing. The rituals are meant to help anyone seeking new ways to cope with today’s world; they are not limited to writers. The personalized rituals — bring pen and paper to take copious notes — are first come, first served, from 12 noon to 5:00, followed by workshops from 6:00 to 8:00; on July 22, Conrad delves into crystal trees, while on July 23 he will read tarot cards. “Prismatic Park,” which also features a blue sound wall and a reflective green dance floor, continues with concerts by Joe McPhee & Graham Lambkin (July 25-30), Shelley Hirsch (August 22-27), Matana Roberts (September 5-10), and Limpe Fuchs with poet Patrick Rosal (October 3-8), dance by Netta Yerushalmy (August 1-6) and Jodi Melnick (September 12-17, 19-24), and poetry by Joshua Bennett (August 15-20), Donna Masini (August 29 – September 3), and Mónica de la Torre (September 26 – October 1).
THE FENCER (MEIKKAILIJA) (VEHKLEJA) (Klaus Härö, 2016)
Angelika Film Center, 18 West Houston St. at Mercer St., 212-995-2570
Lincoln Plaza Cinema, 1886 Broadway between 62nd & 63rd Sts., 212-757-2280
Opens Friday, July 21
Based on a true story, Finnish director Klaus Härö’s The Fencer is a compelling and moving film about a man on the run who suddenly finds himself in a situation that unexpectedly suits him. Estonian actor and comedian Märt Avandi stars as Endel Nelis, a real-life fencing champion who has escaped Stalinism in Leningrad and is hiding out as a teacher in a school in Haapsalu, Estonia, with a new last name. Initially dour and stand-offish, Endel is assigned by the school principal (Hendrik Toompere), a strict party loyalist, to run the sports club, and he soon decides to teach them how to fence, using homemade foils. His interaction with the children, especially Marta (Liisa Koppel), Jaan (Joonas Koff), Lea (Ann-Lisett Rebane), Toomas (Egert Kadastu), and Tiiu (Elbe Reiter), many of whom have been orphaned because of the German and Soviet occupations of Estonia and the continuing presence of the Soviet secret police, lead him to take a personal interest in their lives, as well as reevaluating the meaning of his own. He grows close with fellow teacher Kadri (Ursula Ratasepp), but when his old friend Aleksei (Kirill Käro) tells him that he needs to leave because the police are on his trail, Endel has some critical decisions to make, and not just about himself.
The Fencer is the fourth of Härö’s five feature films to be selected as Finland’s submission for the Academy Awards. The first screenplay written by Finnish novelist and sculptor Anna Heinämaa, the film is tenderly directed by Härö with an acute visual sense (the sharp cinematography is by Tuomo Hutri), which comes about at least in part because of language barriers — he speaks Finnish, Swedish, and English, but the actors, including the children, speak Estonian and Russian. Härö (The New Man, Mother of Mine) steers clear of turning The Fencer into a historical drama, instead concentrating on the human aspects of the story rather than focusing on how the Soviets invaded Estonia after the war and rounded up men who had been drafted by the Nazis. He also handles what could have been a clichéd fencing competition with a gentle touch, the matches evoking a different kind of battle in which participants don’t end up dead. Resembling a young Max von Sydow, Avandi is excellent as Endel, an intensely private man who is suspicious of everything, keeping to himself until he becomes involved in something bigger than his own fears. He turns into a different person when he picks up his foil, suddenly ready to face a world that might not be quite as bitter and harsh as he thinks, where a man can stand up for what’s right, prepared to face the consequences.
TALKING PICTURES: THE CINEMA OF YVONNE RAINER
Film Society of Lincoln Center
Amphitheater, Francesca Beale Theater
Elinor Bunin Munroe Film Center
144 West 65th St. between Eighth Ave. & Broadway
Monday, July 24, free, 7:00
Series runs July 21-27
In 1965, Yvonne Rainer wrote the “No Manifesto,” publicly saying no to “spectacle, virtuosity, transformations and magic and make-believe, the glamour and transcendency of the star image, the heroic, the anti-heroic, trash imagery, involvement of performer or spectator, style, camp, seduction of spectator by the wiles of the performer, eccentricity, and moving or being moved.” It will be difficult, if not impossible, for audiences to maintain many of those ideals when the legendary eighty-two-year-old dancer, choreographer, actor, director, performance artist, and writer comes to the Film Society of Lincoln Center for a week-long celebration of her celluloid career. “Talking Pictures: The Cinema of Yvonne Rainer” runs July 21-27 at the Francesca Beale Theater, with shorts and features made by and/or starring Rainer, along with works that inspired and influenced her. The roster includes Rainer’s Lives of Performers, Film About a Woman Who . . . , Journeys from Berlin/1971, The Man Who Envied Women, and Privilege, among others, along with her collaborations with Maya Deren, Hollis Frampton, and Charles Atlas (who will introduce Trio A/Rainer Variations) in addition to Jean Renoir’s The Rules of the Game, Andy Warhol’s Paul Swan, Trinh T. Minh-ha’s Naked Spaces — Living Is Round, and Ulrike Ottinger’s Madame X: An Absolute Ruler. On July 24 at 7:00, the California-born Rainer will sit down with novelist, cultural critic, and Woodmere native Lynne Tillman (Haunted Houses, What Would Lynne Tillman Do?) in the Elinor Bunin Munroe Film Center Amphitheater in a discussion focusing on Rainer’s film career; admission is free and first-come, first-served. It’s a real treat to see Rainer’s work and to listen to her in person, so don’t miss this very special opportunity.