This Week in New York Insider's Guide to Arts & Culture in New York City Since 2001



Mason Jr. (Ellar Coltrane) and Mason Sr. (Ethan Hawke) take a look at their lives in Richard Linklater’s brilliant BOYHOOD

BOYHOOD (Richard Linklater, 2014)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Sunday, November 30, 2:00
Series runs through January 16
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

Since 2002, Austin auteur Richard Linklater has made a wide range of successful films, from the family-friendly School of Rock and Bad News Bears to the second and third parts of the more adult Before series (Before Sunset, Before Midnight), with Ethan Hawke and Julie Delpy, in addition to the Philip K. Dick thriller A Scanner Darkly and the Jack Black black comedy Bernie. But during that entire period he was also making one of the grandest films ever about childhood, the deceptively simple yet mind-blowingly complex Boyhood. The work follows Mason Evans Jr. (Ellar Coltrane) as he goes from six years old to eighteen, maturing for real as both the actor and the character grow up before our eyes. As the film begins, Mason, his older sister, Samantha (Linklater’s real-life daughter, Lorelei), and their mother, Olivia (Patricia Arquette), are preparing to move to Houston just as their usually absent father, Mason Sr. (Hawke), returns from a job in Alaska, supposedly ready to be a more regular part of their lives. But his emotional immaturity leads to divorce, and Mason Jr. spends the next dozen years dealing with school, stepfathers, and the normal machinations of everyday life, including sex, drugs, rock and roll, and, for him, a determination from an early age to become an artist. Along the way, his sister and parents experience significant changes as well as they all learn lessons about life, love, and loss.


Olivia (Patricia Arquette) reads to children Samantha (Lorelei Linklater) and Mason Jr. (Ellar Coltrane) in BOYHOOD

To make the film, the cast and crew met every year for three or four days of shooting, with writer-director Linklater moving the story ahead by incorporating real elements from Coltrane’s life that add to the natural ease and flow of the story. Despite the obvious difficulties of maintaining continuity over a dozen years, cinematographers Lee Daniel and Shane Kelly and editor Sandra Adair do a masterful job of keeping the narrative right on track. It’s breathtaking to see Mason Jr. go upstairs in one scene, then come downstairs a year later, ready for something new, dressed slightly differently, with a little more facial hair, to signal the change in time. (Linklater also uses the soundtrack to note the passing years, with songs by Coldplay, the Hives, Cat Power, Gnarls Barkley, the Flaming Lips, and others.) Mason Jr.’s unique relationship with each parent and his sister is utterly believable, complete with all the pluses and minuses that entails; at one point, Lorelei, tired of being in the movie, asked her father to kill off her character, and even that energy is apparent onscreen. In addition to Coltrane’s career-making performance, Hawke and Arquette are sensational, doing something no other actors before them have ever done. You won’t be bored for a second of this two-hour, forty-minute journey with a relatively average American family that helps define the modern human condition like no other single film before it. “Photography is truth . . . and cinema is truth twenty-four times a second,” Bruno Forestier (Michel Subor) tells Véronica Dreyer (Anna Karina) in Jean-Luc Godard’s Le Petit Soldat. With Boyhood, that statement has rarely been so true. Boyhood is screening November 30 at 2:00 in MoMA’s annual series “The Contenders” and will be followed by a Q&A with Linklater and Hawke. The series, which consists of films the institution believes will stand the test of time, continues with such other 2014 works as Bong Joon-ho’s Snowpiercer (followed by a discussion with star Tilda Swinton), Paul Thomas Anderson’s Inherent Vice, Mike Leigh’s Mr. Turner, and Isao Takahata’s The Tale of Princess Kaguya.


CURIOUS INCIDENT star Alex Sharp will be at the National Museum of Mathematics on December 8 to talk about math’s role in play (photo by Joan Marcus)

CURIOUS INCIDENT star Alex Sharp will be at the National Museum of Mathematics on December 8 to talk about math’s role in multimedia play (photo by Joan Marcus)

National Museum of Mathematics
11 East 26th St. between Madison & Fifth Aves.
Monday, December 8, $14, 6:30

One of the most exciting shows on Broadway right now is The Curious Incident of the Dog in the Night-time, the London import based on the award-winning 2003 novel by Mark Haddon, about a fifteen-year-old boy who is obsessed with prime numbers. On December 8, Alex Sharp, who gives an extraordinary performance as Christopher John Francis Boone, the teen with a kind of Asperger’s syndrome who is on the hunt for a canine murderer, will be at the National Museum of Mathematics next to Madison Square Park for the intriguing special program “Broadway Intersections: The Math Behind The Curious Incident of the Dog in the Night-time.” Sharp will be joined by MoMath founder Glen Whitney for a discussion on the role of math in the play, followed by an audience Q&A. “The Curious Incident of the Dog in the Night-time brings math to life in an extraordinary fashion, and MoMath is thrilled to offer the opportunity for people to gain a deeper understanding of Christopher’s journey to self-discovery,” Whitney said in a statement. The show, running at the Ethel Barrymore, concludes with a wild postcurtain display of mathematics by Sharp that is certain to be a focus of this supercool event.



Monk Nicholas “Nicky” Vreeland shares his unique view of the world in engaging documentary

MONK WITH A CAMERA (Tina Mascara & Guido Santi, 2014)
Film Society of Lincoln Center, Walter Reade Theater / Howard Gilman Theater
144/165 West 65th St. between Eighth Ave. & Broadway
November 21-27

In 1977, Nicholas “Nicky” Vreeland, the playboy grandson of fashion legend Diana Vreeland and the son of U.S. ambassador Frederick “Frecky” Vreeland, began studying Buddhism with Khylongla Rinpoche. He eventually moved to India, became a monk, and led the rebuilding of the Rato Monastery. He shares his life story in the curious, deeply engaging documentary Monk with a Camera. “I don’t know what led me to wish to pursue a spiritual path,” he says early on, dressed in his red Tibetan monk’s robes. “Was I unhappy? No more unhappy than anyone else. I did feel that there was a way, a life outside the sort of normal life. I had some kind of belief that there was something beyond material satisfaction and things like that.” Born into privilege and living life to the fullest, he was a talented amateur photographer experiencing carnal pleasures, speeding down the Champs-Élysées, and using his connections to work with such photographers as Irving Penn and Richard Avedon, But he gave it all up, eventually moving to India to undertake a more philosophical, self-reflective, and celibate existence — in the film he playfully refers to one of his cameras as his girlfriend. Vreeland fell in love with photography at a young age, and he struggles with the attachment he still has with the medium, understanding that it might be a worldly indulgence that goes against his renunciation of earthly delights. But it turns out that his photography ends up playing a major role in the expansion of Rato Monastery.


Nicky Vreeland finds his true calling in MONK WITH A CAMERA

Directors Tina Mascara and Guido Santi, who previously collaborated on Chris & Don: A Love Story, maintain a calm, meditative pace throughout Monk with a Camera, matching Vreeland’s calm, meditative demeanor. Vreeland, resembling a bald, older Steve Carell, walks and talks in carefully measured tones, adding bits of sly humor with his naturally infectious smile. Among those sharing insight into his life are his brother, Alexander Vreeland, who urged him to keep taking photos even after becoming a monk; his stepbrother, writer Ptolemy Tompkins; writer John Avedon, keeper of the Richard Avedon archives; photographer Priscilla Rattazzi; New York magazine design editor Wendy Goodman; his longtime friend and fellow Buddhist, Richard Gere; and his father, who says, “What it was that drove him to spirituality? I’m a person who doesn’t believe that there’s ever one cause for any effect, that there were multiple causes,” before telling a wonderful anecdote about Nicky’s first visit to Dharamsala. The film also includes playful comic-book-style animation by Joe Rothenberg and a lovely scene in which Nicky, Khylongla Rinpoche, and Richard Gere meet with His Holiness the 14th Dalai Lama, who chuckles as he delivers some seriously funny lines. Monk with a Camera is a lovingly told story about one man’s unique relationship with the world, a tale that will have audiences considering their own relationship with such central Buddhist ideals as attachment and impermanence. Monk with a Camera begins a one-week run November 21 at the Film Society of Lincoln Center; the 7:20 screenings on Friday and Saturday will be followed by a Q&A with producers, editors, and directors Mascara and Santi and subject Nicky Vreeland, and there will be a Q&A with Vreeland and Gere in the Furman Gallery after the 5:20 screening on Saturday for ticket holders only.


This is not your bubby’s Jewish Museum. On November 20, the latest edition of the Upper East Side institution’s “The Wind Up” features Mykki Blanco, the cross-gender rapper, poet, and performance artist also known as Michael David Quattlebaum Jr. As Quattlebaum, he has written From the Silence of Duchamp to the Noise of Boys, a compilation of twenty-three poems including “The Intimacy of Being,” “Freak Jerk,” “Black Boys Are Flowers Too,” and “I Am Young Please Forgive Me,” several of which have been turned into songs by her band, Mykki Blanco & the Mutant Angels, which has released such albums as Betty Rubble: The Initiation and the three-track EP Spring/Summer 2014. In “Poem I” he writes, “I am not a man of reason / And that is exact / I am precisely not a man of logic / And that is inarguable / At some point my soul left me / It was all very casual, you know, in / that way things can sometimes be / It grew tired of my body, I suppose.” Blanco will appear in Scheuer Auditorium along with DJ P. Morris in conjunction with the Abstract Expressionist exhibition “From the Margins: Lee Krasner and Norman Lewis, 1945–1952”; the evening will also include spin art T-shirt making, a painting station, a beer and wine bar, and exhibition tours.


Karthik Subbaraj’s JIGARTHANDA opens the eleventh South Asian International Film Festival this week

Karthik Subbaraj’s JIGARTHANDA opens the eleventh South Asian International Film Festival this week

SAIFF 2014
SVA Theatre, AMC Loews 19th St., Carlton Hotel, Joe’s Pub
November 18-23, $15-$125

The eleventh edition of the South Asian International Film Festival, which was founded by Shilen Amin to present works from India, Pakistan, Sri Lanka, Bangladesh, and Nepal and from within the Indian Diaspora, takes place November 18-23, consisting of eight feature films, four shorts, after-parties, receptions, and live music. The opening-night selection, X., is one of several festival films dealing with the art of the movies themselves, made by eleven Indian directors sharing in telling the story of a filmmaker by exploring his sexual past. In Karthik Subbaraj’s Jigarthanda (Cold Heart), a young director tries to make a reality gangster flick (Subbaraj will participate in a Q&A following the November 21 world premiere screening at the SVA Theatre), while a Bollywood writer heads to Hollywood in the centerpiece world premiere of Raj Nidimoru and Krishna D.K.’s Happy Ending. Other films include Shrihari Sathe’s Ek Hazarachi Note, Kanu Behl’s Titli, and Nabeel Qureshi’s closing-night, Karachi-set Na Maloom Afraad, which will also be followed by a Q&A. Wednesday night’s after-party at Joe’s Pub will be highlighted by a live performance by Raveena Aurora, while filmgoers are invited to mingle with the filmmakers at the closing-night cocktail reception on Sunday.


Jealousy and envy are at the heart of François Ozon’s sexy thriller

Jealousy and envy are at the heart of François Ozon’s sexy thriller

CINÉSALON: SWIMMING POOL (François Ozon, 2003)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, November 18, $13, 4:00 & 7:30
Series continues Tuesdays through December 16

Charlotte Rampling is divine in François Ozon’s playfully creepy mystery about a popular British crime novelist taking a break from the big city (London) to recapture her muse at her publisher’s French villa, only to be interrupted by the publisher’s hot-to-trot teenage daughter. Rampling stars as Sarah Morton, a fiftysomething novelist who is jealous of the attention being poured on young writer Terry Long (Sebastian Harcombe) by her longtime publisher, John Bosload (Game of Thrones’s Charles Dance). John sends Sarah off to his elegant country house, where she sets out to complete her next Inspector Dorwell novel in peace and quiet. But the prim and proper — and rather bitter and cynical — Sarah’s working vacation is soon intruded upon by Julie (Ludivine Sagnier), John’s teenage daughter, who likes walking around topless and living life to the fullest, clearly enjoying how Sarah looks at her and judges her. “You’re just a frustrated English writer who writes about dirty things but never does them,” Julie says, and soon Sarah is reevaluating the choices she’s made in her own life. Rampling, who mixes sexuality with a heart-wrenching vulnerability like no other actress (see The Night Porter, The Verdict, and Heading South), more than holds her own as the primpy old maid in the shadow of a young beauty, even tossing in some of nudity to show that she still has it. (Rampling has also posed nude in her sixties in a series of photographs by Juergen Teller alongside twentysomething model Raquel Zimmerman, so such “competition” is nothing to her.)


Julie (Ludivine Sagnier) and Sarah (Charlotte Rampling) come to a kind of understanding in François Ozon’s SWIMMING POOL

Rampling has really found her groove working with Ozon, having appeared in four of his films, highlighted by a devastating performance in Under the Sand as a wife dealing with the sudden disappearance of her husband. Sagnier, who has also starred in Ozon’s Water Drops on Burning Rocks and 8 Women, is a delight to watch, especially as things turn dark. Swimming Pool is very much about duality; the film opens with a shot of the shimmering Thames river while the title comes onscreen and Philippe Rombi’s score of mystery and danger plays, and later Sarah says, “I absolutely loathe swimming pools,” to which Julie responds, “Pools are boring; there’s no excitement, no feeling of infinity. It’s just a big bathtub.” (“It’s more like a cesspool of living bacteria,” Sarah adds.) Ozon (Time to Leave, Criminal Lovers) explores most of the seven deadly sins as Sarah and Julie get to know each other all too well. Swimming Pool is being shown November 18 at 4:00 and 7:30 as part of the French Institute Alliance Française CinéSalon series “The Art of Sex and Seduction,” with the later screening introduced by filmmaker Ry Russo-Young and followed by a wine reception; the series continues Tuesdays through December 16 with Alain Guiraudie’s Stranger by the Lake introduced by Alan Brown, Catherine Breillat’s The Last Mistress introduced by Melissa Anderson, and François Truffaut’s The Man Who Loved Women introduced by Laura Kipnis, all complemented by Jean-Daniel Lorieux’s “Seducing the Lens” photography exhibition.



The Great Hall of the Cooper Union
7 East Seventh St. at Third Ave.
Monday, November 17, $25, 7:00

College campuses have been a hotbed of activity in the ongoing battle between the Israelis and the Palestinians. On September 22, Palestinian president Mahmoud Abbas gave a speech in the Great Hall of the Cooper Union, discussing his June meeting with Shimon Peres and Pope Francis in the Vatican, explaining, “I prayed that Israel will finally, after a long wait, live next to Palestine as a good neighbor and not as an occupier. So we Palestinians can continue to build our institutions for a modern and open state and society.” (You can watch the speech here.) Three days later, Abbas spoke at the UN and demanded that Israel pay for what he called “war crimes carried out before the eyes of the world.” In response to those speeches, Rabbi Shmuley Boteach is hosting “Genocide and the Jews: A Never-Ending Problem” in the historic Great Hall on November 17, bringing together Nobel Peace laureate and Holocaust survivor Elie Wiesel and Harvard Law School professor Noah Feldman to provide an alternate view to Abbas’s. “Three days before he went before the UN and accused Israel of genocide against the Palestinians, Abbas spoke at Cooper Union’s Great Hall to a crowd comprised mostly of NYU students,” Rabbi Boteach writes on his website. “Many gave him a standing ovation as he repeated his blood libel about the Jewish state. And this in a university with more than 8,000 Jewish students. Only one protest was staged outside the building on the night. It was organized by my son Mendy, an NYU undergraduate, who wisely focused on the positive message of the American values of democracy, racial harmony, and freedom of expression and how Abbas contravenes all three.” The discussion will be introduced by U.S. Ambassador to the UN Samantha Power, whose Pulitzer Prize-winning book, A Problem from Hell: America and the Age of Genocide, inspired Edet Belzberg’s 2014 documentary Watchers of the Sky, which details the efforts of Raphael Lemkin, the coiner of the word “genocide,” to make mass killings a crime against humanity recognized by the world court. “When genocide is trivialized it is not just the six million of the Holocaust who suffer,” Rabbi Boteach continued. “It is the 1.5 million Armenians slaughtered by the Turks. It is the 2.5 million Cambodians murdered by the Khmer Rouge. It is the 800,000 Tutsis slaughtered by the Hutu. And it is all the innocent victims in Croatia, Serbia, and Kosovo.” It should be very interesting to see what kind of protests there might be outside the Cooper Union for this program.