Deganit Shemy’s “2 kilos of sea” has moved from an outdoor church courtyard to indoors at BAC (photo by Julieta Cervantes)
Baryshnikov Arts Center, Howard Gilman Performance Space
450 West 37th St. between Ninth & Tenth Aves.
September 15-17, 7:30, $20
www.bacnyc.org
www.dganit-shemy.com
Last summer, Deganit Shemy presented the site-specific 2 kilos of sea in the John Street United Methodist Church courtyard as part of the LMCC’s annual Sitelines program. The New York-based Israeli choreographer, who grew up on a kibbutz, has now repurposed the forty-minute piece for the Howard Gilman Performance Space at the Baryshnikov Arts Center, where it is being performed through Saturday. On a colorful stage that echoes a construction site, complete with plastic orange fence barricades, fake green grass, a yellow collapsible play tunnel / accordion air duct, and a tiny toy car, Denisa Musilova, Savina Theodorou, Michael Ingle, Rebecca Warner, and Elyssa Dole move about in a nonlinear, fragmented exploration of love, childhood, and morphing relationships. Warner is front and center, wearing a bright-red knee-length dress and a perpetual smile, obsessed with the play tunnel, approaching it with fear and trepidation, continually kicking it as if it were alive. As Jim Dawson’s thrilling sound design goes from carnivalesque to electronic music to ambient street noise, members of the company thump on the ground, leap up from behind a large photo backdrop of the church courtyard, balance atop a long concrete block, engage in snippets of folk dances, and shift the barricades, creating ever-changing physical and psychological boundaries. As in such previous works as Arena and Iodine, Shemy’s 2 kilos of sea is not so much about story as visceral movement and brute emotion, an evening of avant-garde experimental dance theater that plays with expectations even through the very end of the piece.
After his wife, Tanya (Yuliya Aug), suddenly dies, paper factory boss Miron Alekseevich (Yuri Tsurilo) recruits his best friend and employee, Aist Sergeev (Igor Sergeyev), to join him in a Finno-Ugric ritual farewell to the young woman. The two Merjan men prepare the body in the traditional way — which includes a thorough cleansing and the tying of colored threads to her pubic region — and then begin the multiday journey to Lake Nero. Aist, who lives a relatively solitary life, brings with him his pair of beloved buntings, the two men in the car and the two caged birds off on a road trip of a very different kind, with the deceased woman wrapped in a blanket in the back. Along the way, Miron “smokes,” telling Aist intimate details of his and Tanya’s sex life, which is also part of the Finno-Ugric funeral tradition. Siberian-born director Aleksei Fedorchenko’s third feature film, Silent Souls is a touching, elegiac poem about love, friendship, and the ancient rituals of a Russian culture that has not fully assimilated into the modern Slavic ways. Beautifully shot by Mikhail Krichman and with an evocative score by Andrei Karasyov, the film includes long scenes with minimal camera movement, placing the viewer in the car as the men drive down a dirt road or in a hotel room as Miron gives Tanya an erotic vodka bath in a poignant flashback. The two men never talk about work, about the state of the world, about what comes next in their lives. Instead, they quietly go about their business, keeping their traditions alive. Previously shown at the New York, Toronto, and Venice film festivals, Silent Souls is an extraordinary seventy-five-minute adventure into the heart and the soul.
The first half of Lorenz Knauer’s documentary about Jane Goodall, Jane’s Journey, offers fascinating insight into the life and career of the famed primatologist. Making sure she’s not mistaken for the late Dian Fossey, Goodall shares intimate details about her personal and professional lives, discussing her two marriages and her conflict with her son while also delving into her early days working with chimpanzees and archaeologist Louis Leakey in Gombe National Park in Tanzania. Wanting to study animals in Africa since she was a little girl, Goodall achieved her dreams in her early twenties, as she came upon major discoveries that changed the way the scientific world looked at both chimpanzees and humans. Goodall, now in her seventies, returns to Tanzania, sitting with the chimpanzees, showing how they welcomed her those many years ago and still do today. In 1986, Goodall made an abrupt shift in her career, giving up primatology in favor of traveling around the world in a desperate effort to save the planet; the documentary makes an abrupt shift as well, going from a charming study of this highly influential woman to a worshipful fundraising campaign for her many charitable efforts, which include Roots & Shoots and the Jane Goodall Institute. It is here that the film loses its edge; whereas before Knauer spoke with people who knew Goodall well, including her son, her sister, her biographer, and a longtime coworker, now he adds interviews with superstar celebrities (Pierce Brosnan and Angelina Jolie) and random fans lining up for autographs. It’s not that what Goodall has been doing for the last quarter-century isn’t as important as what she did previously; it’s just that it’s not very interesting as presented, playing more like an infomercial than a documentary. Goodall will be at the IFC Center for the 7:20 and 9:50 screenings on opening night, September 16; on September 27 at 8:00 ($18), the one-night-only event 
Nothing is off limits for South Park dudes Trey Parker and Matt Stone in this marionette musical actioner that mixes Top Gun, Mission: Impossible, and The Matrix with that old classic television puppet show Thunderbirds. Kim Jong Il is determined to unleash his weapons of mass destruction on an unsuspecting world, and it is up to Team America and its newest member, actor Gary Johnston, formerly of the hit musical Lease, to stop the North Korean leader’s heinous plan. But Team America is a reckless bunch that has a tendency to destroy major cities and landmarks (the Eiffel Tower, the Sphinx) as it attempts to take out terrorists. Meanwhile, love threatens to complicate the success of their mission. Parker and Stone skewer international politics, the military, celebrity, and the media in this very dirty, very funny flick; among their victims are Alec Baldwin, Susan Sarandon, Sean Penn, Peter Jennings, Hans Blix, George Clooney, and, mercilessly, Matt Damon and Ben Affleck. There’s lots of blood and gore, a very hot puppet sex scene, and the best description ever about the three kinds of people in the world. Although it often misses its target or goes way too far — it could have been a classic like South Park: Bigger Longer & Uncut — it’s still a good way to spend a Saturday night out at the movies. And on Saturday, September 17, it will be offering even more, as the 92YTribeca screens it as part of its “Sing-along” series, adding the words on-screen so you can curse along with the characters to your heart’s delight — and they’ll even include props, trivia, and a free beer to help get things going.