IN THE SOUP (Alexandre Rockwell, 1992)
SVA Theater 1 Silas
333 West Twenty-Third St. between Seventh & Eighth Aves.
Tuesday, April 24, $25.94, 7:30
Tribeca Film Festival runs April 18-29
The 2018 Tribeca Film Festival might be hosting gala anniversary screenings of Scarface and Schindler’s List at the Beacon with impressive rosters of superstar guests and high price tags, but the one to see is Alexandre Rockwell’s 1992 black-and-white indie cult classic, In the Soup, which is being shown April 24 at the SVA Theater. The twenty-fifth anniversary screening is a case of life imitating art (imitating life): The black comedy is about the fabulously named Adolpho Rollo (Steve Buscemi), a ne’er-do-well New Yorker living in a run-down apartment building, working on his master opus, a five-hundred-page screenplay called Unconditional Surrender that he believes will change the face of cinema itself. A familiar New York story? Perhaps, but the film was largely unfamiliar to almost everyone but the most dedicated enthusiasts, since it has been out of circulation for most of its existence. A few years ago, In the Soup was down to one last, damaged archival print, but distribution company Factory 25 began a Kickstarter campaign to restore the film in time for its quarter-century anniversary, somewhat mimicking Adolpho’s efforts to get his movie made — which, in turn, is based on Rockwell’s attempts to make In the Soup in the first place, as many of the characters and situations in the film are based on real people and actual events. With wanna-be gangster brothers Louis Barfardi (Steven Randazzo) and Frank Barfardi (Francesco Messina) breathing down his neck for the rent, Adolpho decides to sell the last thing of value (at least in his mind) that he owns, his screenplay. (In real life, Rockwell sold his saxophone to help get In the Soup financed.) His first offer is not quite what he imagined, involving a pair of cable TV producers played by Jim Jarmusch and Carol Kane. But next he meets Joe (Seymour Cassel), an older, white-haired teddy bear of a man who may or may not be connected. Joe is so excited about making a movie that he can’t stop hugging and kissing — and even getting in bed with — a confused Adolpho, who really has nowhere else to turn. Adolpho wants his next-door neighbor, Angelica (Jennifer Beals, who was married to Rockwell at the time), to star in his film, but she wants nothing to do with him, although he does succeed in making Angelica’s estranged, and plenty strange, husband, Gregoire (Stanley Tucci), mighty jealous. Adolpho is also terrified of Joe’s mysterious, apparently rather dangerous, brother, Skippy (Will Patton). Little by little, the money starts coming in, but Adolpho and Joe start having creative differences about fundraising and moviemaking, leading to a series of even odder situations with more bizarre characters.
A kind of cousin to Jarmusch’s 1984 gem, Stranger than Paradise, Rockwell’s third feature (following Hero and Sons) was made on a shoestring budget, shot in color by cinematographer Phil Parmet but then transferred to black-and-white to obtain a stark, drenched look. Veteran character actor and Cassavetes regular Cassel and up-and-coming actor/fireman Buscemi form a great comic duo, Cassel filling Joe with an unquenchable thirst for all life has to offer, Buscemi imbuing Adolpho with a rigid, sheltered view of existence, a young man lost in his own warped reality. “My father died the day I was born. I was raised by Fyodor Dostoevsky and Friedrich Nietzsche,” Adolpho says, as if that’s a good thing. Patton is a riot as the menacing Skippy, while Beals and Tucci have fun with their accents. The fab cast also includes Debi Mazar as Suzie, Elizabeth Bracco as Jackie, Sully Boyar as the old man, Pat Moya as Joe’s companion, Dang, Ruth Maleczech as Adolpho’s mother, Michael J. Anderson as a drug dealer, and Sam Rockwell (no relation to Alexandre) as Angelica’s brother, Pauli. In the Soup is also a great New York City film, with several awesome locations. The film won the Grand Jury Prize at Sundance, beating out Allison Anders’s Gas Food Lodging and Quentin Tarantino’s Reservoir Dogs (Cassel also won for acting), but the distribution company handling the picture went bankrupt shortly after releasing it, resulting in its scarce availability, which was a shame, because it’s an absolute treasure. But now it’s back and looking better than ever. (Coincidentally, Rockwell, Anders, and Tarantino were three of the quartet of directors who made the 1995 omnibus Four Rooms, along with Robert Rodriguez.) Alexandre Rockwell, who went on to make such other films as Somebody to Love, 13 Moons, and Pete Smalls Is Dead (with many of the actors from In the Soup), will take part in a conversation following the Tribeca Film Festival screening, joined by Buscemi, Beals, Sam Rockwell, and Parmet.
The New York Botanical Garden
Enid A. Haupt Conservatory
2900 Southern Blvd., Bronx
April 20-22, $12 children two to twelve, $28 adults ($38 for Orchid Evenings, adults only, 6:30 - 9:30)
The New York Botanical Garden’s 2018 orchid show, featuring installations by Belgian floral artist Daniel Ost, closes this weekend, but not before a flurry of special events in conjunction with Earth Day. On Friday at 11:00 am, Charles Peters will discuss his new book, Managing the Wild: Stories of People and Plants and Tropical Forests, in the LuEsther T. Mertz Library, and the Discovery Center at the Everett Children’s Adventure Garden will host activities for children from 1:30 to 5:30. Orchid Evenings take place Friday and Saturday night, with specialty cocktails, music by DJ X-RAY, Alice Farley’s Orchid Dancers, and a nighttime viewing of the show. On Saturday and Sunday from 12 noon to 4:00, there will be a Herbarium Open House in the Steere Herbarium and “The Scientist Is In” booth on Conservatory Plaza. In addition, the fifteen-minute animated film Tree of Life will screen continuously in Ross Hall from 11:00 to 5:00, there will be tours of the conservatory and laboratory and demonstrations of the Hitachi TM4000 PLUS Tabletop Scanning Electron Microscope, and the Earth Ball will be on display on the Conservatory Lawn.
Tribeca Film Festival
As you scout around the Tribeca Film Festival guide and schedule, you might notice that a lot of the events are not exactly cheap, with most screenings running between twenty-five and forty-five bucks and some special presentations costing several hundred dollars. But there are a bunch of free programs as well, including film screenings, master classes, and gaming, particularly on April 27, which is free Friday. Make sure to check whether advance registration is necessary or it’s first come, first served.
Friday, April 20
Tribeca Talks: Master Class — Sound & Music Design for Film, moderated by Glenn Kiser, SVA Theater 2 Beatrice, 4:00
Sunday, April 22
Special Screenings: Hotel Transylvania (Genndy Tartakovsky, 2012), with a dance parade, costume parade, trivia contest, character meet-and-greets, Manhattan Youth performance, and more, BMCC Tribeca PAC, 9:00 am
Tuesday, April 24
Tribeca Talks: Master Class — BAO Animation Workshop, SVA Theater 2 Beatrice, free, 3:00
Tribeca Talks — 30 for 30 Podcast: Bikram, discussion with reporter and producer Julia Lowrie Henderson and host and editor Jody Avirgan, Cinépolis Chelsea 4, 7:15
Friday, April 27
Shorts: Animated Shorts Curated by Whoopi G, Cinépolis Chelsea 2, 3:45
Tribeca Games: A Special Preview of Shadow of the Tomb Raider, BMCC Tribeca PAC, 4:00
Phantom Cowboys (Daniel Patrick Carbone, 2018), Cinépolis Chelsea 6, 5:00
After the Screening: Little Women (Vanessa Caswill, 2017), followed by a conversation with executive producers Colin Callender and Rebecca Eaton, cast member Maya Hawke, and dramatist Heidi Thomas, SVA Theater 1 Silas, 5:00
Crossroads (Ron Yassen, 2018), Cinépolis Chelsea 1, 5:15
Say Her Name: The Life and Death of Sandra Bland (Kate Davis & David Heilbroner, 2018), Cinépolis Chelsea 3, 5:30
O.G. (Madeleine Sackler, 2018), Regal Cinemas Battery Park 11-3, 5:45
Ryuichi Sakamoto: Coda (Stephen Nomura Schible, 2017), Regal Cinemas Battery Park 11-10, 6:00
Tribeca Games — Reimagining God of War: The Inside Story, BMCC Tribeca PAC, 6:00
Diane (Kent Jones, 2018), Cinépolis Chelsea 7, 6:00
Tribeca TV: The Last Defense, conversation with executive producers Viola Davis and Julius Tennon, SVA Theater 2 Beatrice, 6:00
Momentum Generation (Jeff Zimbalist & Michael Zimbalist, 2018), Regal Cinemas Battery Park 11-5, 6:30
Shorts — NY Shorts: Homemade, Cinépolis Chelsea 8, 6:30
Shorts: Magic Act, Cinépolis Chelsea 2, 6:45
Shorts: Make or Break, Cinépolis Chelsea 9, 7:00
Special Screenings: Netizens (Cynthia Lowen, 2018), Cinépolis Chelsea 4, 7:30
Special Screenings: Radium Girls (Ginny Mohler & Lydia Dean Pilcher, 2018), SVA Theater 1 Silas, 8:00
Tanzania Transit (Jeroen van Velzen, 2018), Regal Cinemas Battery Park 11-9, 8:00
Time for Ilhan (Norah Shapiro, 2018), Regal Cinemas Battery Park 11-6, 8:15
Special Screenings: The Girl and the Picture (Vanessa Roth, 2018), Cinépolis Chelsea 3, 8:30
The Elephant and the Butterfly (Amélie van Elmbt & Amelie van Elmbt, 2017), Regal Cinemas Battery Park 11-4, 8:30
It’s a Hard Truth Ain’t It (Madeleine Sackler, 2018), Regal Cinemas Battery Park 11-3, 8:45
The Serengeti Rules (Nicolas Brown, 2018), Cinépolis Chelsea 7, 9:00
Nico, 1988 (Susanna Nicchiarelli, 2017), Regal Cinemas Battery Park 11-10, 9:00
Mapplethorpe (Ondi Timoner, 2018), Regal Cinemas Battery Park 11-5, 9:30
The Night Eats the World (Dominique Rocher, 2018), Cinépolis Chelsea 8, 9:30
Shorts: Into the Void, Cinépolis Chelsea 2, 9:45
Shorts: Loose Ends, Cinépolis Chelsea 9, 10:00
Saturday, April 28
Tribeca Film Institute: Tribeca Teaches Showcase, BMCC Tribeca PAC, 10:00 am
Tribeca Talks: Master Class — Show Runners and Writing for TV, with Robert and Michelle King, Steve Bodow, and Jennifer Flanz, SVA Theater 2 Beatrice, 2:00
Tribeca Campus Docs: Campus Movie Fest, Regal Cinemas Battery Park 11-9, 3:00
According to a disturbing new survey published this week by the Conference on Jewish Material Claims Against Germany and conducted by Schoen Consulting, twenty-two percent of millennials have never heard of the Holocaust, while fifty-eight percent of Americans believe that “something like the Holocaust could happen again.” The report was released just in time for Yom Hashoah, Holocaust Remembrance Day. At least one millennial is doing something about that. On April 13, Serena Dykman’s extraordinary documentary, Nana, opens at Cinema Village, where the twenty-five-year-old first-time full-length feature director will participate in Q&As following the 7:00 screenings on Friday and Saturday. When she was a child, Serena had heard such words as “Holocaust,” “Auschwitz,” and “Mengele” but didn’t know exactly what they meant, though she knew they had something to do with her grandmother, Maryla Michalowski-Dyamant, whom she called Nana and who died when Serena was eleven. A decade later, after being in Brussels during the attack on the Jewish Museum and in Paris during the Charlie Hebdo massacre, Serena decided it was time to read the book she had been carrying around with her for two years but had been reluctant to open: her grandmother’s memoir. She then finally understood what all those words meant, and the impact they continue to have on her and her mother, Alice Michalowski, Maryla’s daughter.
Nana is a deeply personal transgenerational documentary that focuses on Maryla’s remarkable story of surviving Ravensbruck, Malchow, and Auschwitz-Birkenau, serving as a translator for Dr. Josef Mengele, the Angel of Death, and going on to share her tale in an endless stream of interviews, school visits, and tours at Auschwitz, making sure that the world will never forget what happened. Once word got out that Maryla’s granddaughter was making a film about her, Serena received more than a hundred hours of footage from men and women who had interviewed her grandmother in television studios, at her home, and at Auschwitz, to go along with the new material she was filming. Serena and Alice retrace Maryla’s steps, traveling to Belgium, Poland, Germany, France, and Brooklyn, meeting with people who knew Maryla and reading excerpts from her memoir outside relevant historic locations. Maryla’s legacy is apparent as person after person speaks of her dedication to her cause, her sense of humor, and the matter-of-fact way she related her experiences — and her fears that anti-Semitism and intolerance were on the rise again. “I tell this to the youth so they understand everything that can happen if we adhere to regimes like the Hitlerian regime and others,” Maryla says. Television reporter Yvan Sevanans explains, “We have to constantly restart the work because there are constantly new generations.”
“Malevolent politicians still exist. Political manipulators like Hitler still exist. And even in the most democratic countries, we’re never shielded from a bad election,” notes journalist Christian Laporte, who visited Auschwitz with Maryla. “I’m really scared. These days, I’m scared,” says library director Joelle Baumerder, who also went to Auschwitz with Maryla and is the daughter of survivors. German-born professor Johannes Blum, who was the first one to record Maryla’s story, asks, “How does this woman find the strength to live? How is it possible? I’d even say that she passed on this strength to others. She knows the cost of life. And she knows the richness of life.” Alice herself explains how hard it is to be the child of a survivor. “It takes away from you the full right to live. You want to trust people, and to trust life. But you know that this is impossible,” she says. Serena, who graduated from NYU film school and has made several shorts (Welcome, The Doorman), and editor Corentin Soibinet potently move between the interviews with Maryla, Alice and Serena’s journey, the new interviews, and archival footage of ghettos and concentration camps from the 1930s and 1940s. One word that keeps coming up when people describe Maryla is “tolerance”; Maryla was adamant about not making the Holocaust a Jewish thing but instead about discrimination against any group.
But at the heart of the film, which was written by Dykman, David Breger, and Soibinet and has a lovely, emotive score by Carine Gutlerner, is the relationship among three generations of strong, determined women, Maryla, Alice, and Serena. Sitting in the last remaining synagogue in Warsaw, Alice asks her daughter what her first impressions are of what she’s encountered while making the film, and Serena replies, “That I hadn’t understood too much . . . Or that I didn’t want to understand. I’ve learned more in ten days about Nana and the Shoah than I learned in all twenty-two years of my life.” Alice also tells her daughter, “She survived so you don’t have to. And so that you can live.” Maryla was initially compelled to speak her mind after hearing too many Holocaust deniers claim the genocide never happened. Serena is now keeping her grandmother’s legacy alive at a time when there are fewer and fewer survivors and witnesses and more and more white supremacists and fascist leaders around the globe. But like her grandmother, Serena is filled with the hope that things can change, and films like Nana, which has won awards at numerous international festivals, need to be made and widely seen to accomplish just that.
SINGING LOVEBIRDS (OSHIDORI UTAGASSEN) (鴛鴦歌合戦) (Masahiro Makino, 1939)
Museum of Modern Art, MoMA Film
11 West 53rd St. between Fifth & Sixth Aves.
Friday, April 13, 4:30, and Saturday, April 14, 1:30
Series runs April 12-29 at MoMA and Japan Society
In the 1930s, on the cusp of WWII, Japan was in the process of creating its own cinematic musical genre. One of the all-time classics is the wonderful Singing Lovebirds, a period romantic rectangle set in the days of the samurai. Oharu (Haruyo Ichikawa) is in love with handsome ronin Reisaburō (Chiezō Kataoka), but he is also being pursued by the wealthy and vain Otomi (Tomiko Hattori) and the merchant’s daughter, Fujio (Fujiko Fukamizu), who has been promised to him. Meanwhile, Lord Minezawa (jazz singer Dick Mine) has set his sights on Oharu and plans to get to her through her father, Kyōsai Shimura (Takashi Shimura), a former samurai who now paints umbrellas and spends all of his minuscule earnings collecting antiques. “It’s love at first sight for me with this beautiful young woman,” Lord Minezawa sings about Oharu before telling his underlings, “Someone, go buy her for me.” But Oharu’s love is not for sale. Directed by Masahiro Makino, the son of Japanese film pioneer Shōzō Makino, Singing Lovebirds is utterly charming from start to finish, primarily because it knows exactly what it is and doesn’t try to be anything else, throwing in a few sly self-references for good measure.
Made in a mere two weeks while Kataoka was ill and needed a break from another movie Masahiro Makino was making — he tended to make films rather quickly, compiling a resume of more than 250 works between 1926 and 1972 — Singing Lovebirds features a basic but cute script by Koji Edogawa, playful choreography by Reijiro Adachi, a wide-ranging score by Tokujirō Ōkubo, silly but fun lyrics by Kinya Shimada, and sharp black-and-white cinematography by Kazuo Miyagawa, who would go on to shoot seminal films by Akira Kurosawa, Kenji Mizoguchi, Yasujirō Ozu, and Kon Ichikawa. There are fab touches throughout the film, from the comic-relief group of men who follow Otomi around, professing their love, to the field of umbrellas made by Kyōsai that resembles a mural by Takashi Murakami, to a musical number sung by Lord Minezawa in which the musicians are clearly not playing the instruments that can be heard on the soundtrack. And of course, it’s also worth it just to hear the great Takashi Shimura, who appeared in so many classic Kurosawa films, sing, although he doesn’t dance. Singing Lovebirds might not have tremendous depth, primarily focusing on money and greed, love and honesty, but the umbrellas do serve as clever metaphors for the many different shades of humanity, for places to hide, and for ways of seeking protection from a world that can be both harsh and beautiful.
Singing Lovebirds is screening April 13 and 14 in the MoMA / Japan Society series “Kazuo Miyagawa: Japan’s Greatest Cinematographer,” which runs April 12-29 at both venues and includes such other Miyagawa-photographed gems as Hiroshi Inagaki’s rarely shown The Rickshaw Man, Yasujirô Ozu’s Floating Weeds, Kenji Mizoguchi’s Tales of the Taira Clan, and Kozaburo Yoshimura’s Bamboo Doll of Echizen in addition to works by Daisuke Ito, Akira Kurosawa, Kon Ichikawa, Kazuo Mori, Masahiro Shinoda, Kazuo Ikehiro, Yasuzô Masumura, and Kenji Misumi. Miyagawa passed away in 1999 at the age of ninety-one, having shot more than eighty films over a fifty-year career. This first major U.S. retrospective of his work, which explores his innovative techniques with the camera and influential legacy, was organized by MoMA’s Joshua Siegel and Japan Society’s Aiko Masubuchi and Kazu Watanabe. In conjunction with the series, Film Forum is showing new 4K restorations of Mizoguchi’s Sansho the Bailiff and A Story from Chikamatsu through April 12. As a bonus, Japan Society is hosting the talk “Cinematographer, Kazuo Miyagawa” on April 14 at 3:00 (free with any series ticket), with Miyagawa’s eldest son, Ichiro Miyagawa, and Miyagawa’s longtime camera assistant, Masahiro Miyajima, moderated by Joanne Bernardi.
Tribeca Film Festival
April 18-29, $33.15 - $43.45
The Tribeca Film Festival’s “After the Screening” series features conversations, panel discussions, live performances, and Q&As following screenings of more than two dozen films and television episodes, not including the special shows at the Beacon Theatre. Most of the events, held at the SVA Theater, BMCC Tribeca PAC, Cinépolis Chelsea, and the festival hub at Spring Studios, cost between $25.94 and $43.45, except on April 27, when they’re free. Among the guests appearing “After the Screening” are Viola Davis, Sam Rockwell, Paris Hilton, André Leon Talley, Jennifer Beals, Steve Buscemi, Sandra Bernhard, Alexandre Rockwell, Brian Grazer, Joy Reid, Terrence McNally, Christine Baranski, F. Murray Abraham, Chita Rivera, Matthew Broderick, Antonio Banderas, Katie Couric, Tom Sturridge, Natalie Dormer, Paul Sparks, Kathleen Cleaver, Alex Gibney, Emily Mortimer, Alessandro Nivola, Ron Perlman, Kyle Abraham, Ralph Macchio, DJ Jahi Sundance, the Last Poets, Jason Reitman, and Tamara Jenkins. Tickets are still available for most of the presentations, although some are already at rush and limited status.
Thursday, April 19
Tribeca Talks: Director’s Series: Tully (Jason Reitman, 2018), conversation with Jason Reitman and Tamara Jenkins, BMCC Tribeca PAC, $43.45, 5:15
Westworld, discussion with Jonathan Nolan, Lisa Joy, Evan Rachel Wood, Thandie Newton, Jeffrey Wright, and James Marsden, BMCC Tribeca PAC, rush, 8:30
Friday, April 20
Rest in Power: The Trayvon Martin Story (Julia Willoughby Nason & Jenner Furst, 2018), conversation with codirectors Julia Willoughby Nason and Jenner Furst, the parents of Trayvon Martin, Sybrina Fulton and Tracy Martin, executive producers Mike Gasparro and Chachi Senior, and special guests, moderated by Joy Reid, BMCC Tribeca PAC, $33.15, 5:45
Genius: Picasso, conversation with showrunner Ken Biller, executive producers Brian Grazer and Francie Calfo, and cast members Antonio Banderas, Alex Rich, Clémence Poésy, Poppy Delevingne, and Samantha Colley, moderated by Cynthia Littleton, BMCC Tribeca PAC, $33.15, 8:30
Saturday, April 21
Bathtubs over Broadway (Dava Whisenant, 2018), conversation with members of the cast and a special performance inspired by the film with surprise guests, BMCC Tribeca PAC, $33.15, 2:00
Freaks & Geeks: The Documentary (Brent Hodge, 2018), conversation with director Brent Hodge and Freaks and Geeks creator Paul Feig, Tribeca Festival Hub, $33.15, 8:00
Sunday, April 22
Netizens (Cynthia Lowen, 2018), conversation with director Cynthia Lowen and subjects Tina Reine, Carrie Goldberg, and Anita Sarkeesian, SVA Theater 2 Beatrice, rush, 2:00
To Dust (Shawn Snyder, 2018), followed by Tribeca Film Institute conversation with writer/director Shawn Snyder, producers Emily Mortimer, Alessandro Nivola, and Ron Perlman, cast members Geza Rohrig and Matthew Broderick, and biologist Dawnie Steadman, hosted by Alfred P. Sloan Foundation, SVA Theater 1 Silas, rush, 6:00
Mr. Soul (Melissa Haizlip & Samuel Pollard, 2018), followed by #SOUL50: A 50th Anniversary Tribute to SOUL! hosted by Blair Underwood and featuring performances from Robert Glasper, Lalah Hathaway, Kyle Abraham, DJ Jahi Sundance, Sade Lythcott, Kathleen Cleaver, and the Last Poets: Abiodun Oyewole, Umar Bin Hassan and Felipe Luciano, Tribeca Festival Hub, $33.15, 8:00
Monday, April 23
Every Act of Life (Jeff Kaufman, 2018), conversation with director Jeff Kaufman, playwright Terrence McNally, actor/director Joe Mantello, and actors F. Murray Abraham, Christine Baranski, and Chita Rivera, moderated by Frank Rich, SVA Theater 2 Beatrice, rush, 8:00
Blue Note Records: Beyond the Notes (Sophie Huber, 2018), followed by special guest performance by Blue Note artists Robert Glasper, Derrick Hodge, and Kendrick Scott, Tribeca Festival Hub, rush, 8:00
Tuesday, April 24
In the Soup (Alexandre Rockwell, 1992), conversation with director Alexandre Rockwell, actors Steve Buscemi, Jennifer Beals, and Sam Rockwell, and cinematographer Phil Parmet, SVA Theater 1 Silas, $25.94, 7:30
Cobra Kai, conversation with writers, directors, and executive producers Hayden Schlossberg, John Hurwitz, and Josh Heald and series stars and executive producers Ralph Macchio and William Zabka, SVA Theater 2 Beatrice, rush, 7:45
Wednesday, April 25
Bobby Kennedy for President (Dawn Porter, 2018), conversation with director Dawn Porter and Ambassador William vanden Heuvel, SVA Theater 1 Silas, $33.15, 5:00
Woman Walks Ahead (Susanna White, 2017), conversation with director Susanna White, actor Sam Rockwell, and others, BMCC Tribeca PAC, $25.94, 5:45
Phenoms, conversation with executive producers David Brooks and Mario Melchiot, producer Arbi Pedrossian, creative director Chris Perkel, producer and editor Thomas Verette, and directors Jane Hicks, Jeff Zimbalist, and Michael Zimbalist, SVA Theater 2 Beatrice, $33.15, 8:30
The Gospel According to André (Kate Novack, 2018), conversation with director Kate Novack, subject André Leon Talley, producers Andrew Rossi and Josh Braun, and executive producer Roger Ross Williams, moderated by Sandra Bernhard, BMCC Tribeca PAC, $33.15, 8:30
Thursday, April 26
Sweetbitter, conversation with creator, executive producer, and writer Stephanie Danler, showrunner Stuart Zicherman, and cast members Ella Purnell, Caitlin FitzGerald, Tom Sturridge, and Paul Sparks, moderated by Katie Couric, SVA Theater 1 Silas, rush, 5:00
Enhanced, conversation with executive producer Alex Gibney and directors Chai Vasarhelyi and Jesse Sweet, moderated by Marisa Guthrie, Cinépolis Chelsea 7, $33.15, 6:00
RX: Early Detection a Cancer Journey with Sandra Lee (Cathy Chermol Schrijver, 2018), conversation with director Cathy Chermol Schrijver and subjects Sandra Lee and Kimber Lee, SVA Theater 1 Silas, $25.94, 7:45
Drunk History, conversation with cocreator, director, and host Derek Waters, cocreator and director Jeremy Konner, and special guests (and two complimentary drink tickets), Tribeca Festival Hub, $33.15, 8:30
Friday, April 27
Little Women (Vanessa Caswill, 2017), conversation with executive producers Colin Callender and Rebecca Eaton and cast member Maya Hawke, SVA Theater 1 Silas, free with advance ticket, 5:00
The Last Defense, conversation with executive producers Viola Davis and Julius Tennon, SVA Theater 2 Beatrice, free with advance ticket, 6:00
The American Meme (Bert Marcus, 2018), conversation with director Bert Marcus and subjects Paris Hilton, Kirill Bichutsky, Brittany Furlan, the Fat Jew, and Hailey Baldwin, Tribeca Festival Hub, limited, 8:00
Saturday, April 28
The Staircase, conversation with creator and director Jean-Xavier de Lestrade and producers Matthieu Belghiti and Allyson Luchak, SVA Theater 2 Beatrice, $33.15, 6:00
Picnic at Hanging Rock (Larysa Kondracki, 2018), conversation with director Larysa Kondracki, executive producer Jo Porter, and cast member Natalie Dormer, SVA Theater 1 Silas, $33.15, 8:00