twi-ny recommended events

THE REAGAN SHOW

Nancy Reagan prepares to surprise her husband with a birthday cake to deflect attention from a potential media crisis in THE REAGAN SHOW

THE REAGAN SHOW: OUR COUNTRY WAS HIS STAGE (Sierra Pettengill & Pacho Velez, 2017)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
Opens Friday, June 30
212-660-0312
metrograph.com

Taking its name from The Truman Show, Peter Weir’s 1998 satire in which Jim Carrey plays a character whose entire life is a reality television program, The Reagan Show posits the fortieth president of the United States as the first full-time made-for-TV leader and his two terms as the height of performance art. The film opens with a December 1988 ABC News interview in which David Brinkley asks outgoing president Ronald Reagan, “Did you learn anything as an actor that has been useful to you as president?” Reagan responds, “There have been times in this office when I wondered how you can do the job if you hadn’t been an actor.” Writer-director Pacho Velez (Manakamana) and producer-director Sierra Pettengill (Town Hall, Cutie and the Boxer) gained access to archives that included what was known as White House Television (WHTV), raw footage shot by White House cameras that obsessively followed Reagan, reminiscent of how Richard Nixon audiotaped everything in the Oval Office. The WHTV clips go behind-the-scenes of the before, during, and after of major and minor events, depicting the cultivation of Reagan’s public image, molding him to look like a leader while choosing style over substance. “The White House has become more and more the stage, a theater, and the question has become, Are the television networks gonna manage that theater, are they gonna manage that stage, or is the White House gonna do that?” communications director David Gergen asks. The all-archival chronological film includes news reports and commentary by such journalists and political insiders as William F. Buckley, Andrew Young, Ted Koppel, Lyn Nofziger, Sam Donaldson, Chris Wallace, Walter Cronkite, Dan Rather, George Will, Tom Brokaw, George Shultz, Peter Jennings, Bill Plante, David Frost, Charles Kuralt, Joe Biden, and Howard Baker as they share their thoughts on Reagan the president and Reagan the media star.

All-archival documentary explores the creation of a public image for the fortieth president of the United States

The film, edited with a sense of humor by cowriter Francisco Bello, Daniel Garber, and David Barker, focuses on key aspects of Reagan’s two terms: his summits with new Soviet premier Mikhail Gorbachev to end the Cold War, his development of the Star Wars SDI initiative, the arms-for-hostages crisis, and his relationship with the press and his wife, Nancy. The Great Communicator is seen rehearsing an endorsement for John Sununu in which he cannot pronounce Sununu’s name correctly, acting like a macho man on his ranch, meeting Michael Jackson and Mr. T, and pardoning turkeys for Thanksgiving. Pettengill and Velez also highlight telling scenes from some of Reagan’s films, explaining in a caption that he “was almost always typecast as the good-natured, all-American hero,” essentially preparing him for politics. In addition, there are numerous parallels to what is happening today, with a reality television star in the White House who plays hard and fast with the truth while the public grows concerned about nuclear war. “Together, we’ll make America great again,” Reagan declares at a rally. As White House deputy chief of staff Michael Deaver tells Barbara Walters, “It’s the staging, how you stage the message. It’s a game.” Five presidents later, it’s still a game we’re all playing, but who is winning and who is losing is up for debate. The Reagan Show opens June 30 at Metrograph, with Velez, Pettengill, and documentarian Matt Wolf participating in a Q&A following the 7:00 screening on June 30, Pettengill and director and producer Maxim Pozdorovkin after the 5:00 show on July 1, and Pettengill and cultural critic and Museum of the Moving Image associate film curator Eric Hynes following the 7:00 screening on July 2.

SUMMERSTAGE — THE BRIDGE: VINCE GIORDANO & THE NIGHTHAWKS WITH CATHERINE RUSSELL / AVALON JAZZ BAND / AURORA NEALAND / NATALIE DESSAY & ENSEMBLE MATHEUS LED BY JEAN-CHRISTOPHE SPINOSI

Vince Giordano & the Nighthawks are headlining an evening of hot New York and French jazz in Central Park on July 1

Rumsey Playfield, Central Park
Enter at 72nd St. & Fifth Ave.
Saturday, July 1, free, 6:00 – 10:00 pm
www.cityparksfoundation.org

Paris and New York City come together for the special jazz, swing, and ragtime show “The Bridge,” a SummerStage event presented by the French Mission du Centenaire of WWI, the Cultural Services of the French Embassy, and the New York Hot Jazz Festival. The headliner is the hardest working man in jazz, Vince Giordano, the subject of the recent documentary There’s a Future in the Past; Giordano will be leading his amazing band, the Nighthawks, with guest appearances by Catherine Russell, Kat Edmonson, Nicolle Rochelle, and DeWitt Fleming Jr., performing “From Harlem to Montmarte: The Jazz Age Voyage.” The four-hour show also features the New York City-based Avalon Jazz Band, with vocalist Tatiana Eva-Marie and guest guitarist Stephane Wremble performing “Do You Zazou? The Swing Kids of Wartime Paris”; California-born New Orleans chanteuse Aurora Nealand & the Royal Roses performing “Sidney Bechet: The Paris Years”; and French orchestra Ensemble Matheus, with opera singer Natalie Dessay, conducted by Jean-Christophe Spinosi. Doors open at 5:00 for what should be one truly hot show, which commemorates WWI and the cultural alliance between the United States and France.

BROOKLYN MUSEUM FIRST SATURDAY: WE WANTED A REVOLUTION

Jan van Raay, “Faith Ringgold (right) and Michelle Wallace (left) at Art Workers Coalition Protest, Whitney Museum,” digital C-print, 1971 (© Jan van Raay)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, July 1, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

For July, the free First Saturday program at the Brooklyn Museum is zeroing in on its current exhibition “We Wanted a Revolution: Black Radical Women, 1965–85.” There will be pop-up teen apprentice gallery discussions about the show in addition to a tour led by Elizabeth A. Sackler Center for Feminist Art curatorial assistant Allie Rickard; a hands-on workshop in which you can create your own silkscreened political messages; live performances by Tamara Renée (music inspired by collages by Romare Bearden), Billy Dean Thomas, and DJ Reborn; a screening of Linda Goode Bryant and Laura Poitras’s Flag Wars, about gentrification in Ohio, followed by a talkback with Goode Bryant; BUFU Presents Us: A Convening on Collective Action, with workshops by Yellow Jackets Collective, Sisters Circle Collective, Artrepreneurship, QTPOC Mental Health Initiative, and others; a community resource fair with G!rl Be Heard, Haitian Women for Haitian Refugees, Voices of Women Organizing Project, and the Black Girl Project; a reading and signing by Morgan Parker for her latest book, There Are More Beautiful Things Than Beyoncé; and the Black Lunch Table Edit-a-Thon, in which participants can work on Wikipedia articles on artists in the “We Wanted a Revolution” exhibition and get their Wiki portrait taken by Noelle Theard. In addition, you can check out such other exhibits as “Infinite Blue,” “A Woman’s Afterlife: Gender Transformation in Ancient Egypt,” and, at a discounted admission price of $12, “Georgia O’Keefe: Living Modern.”

NEW YORK ASIAN FILM FESTIVAL OPENING NIGHT: BAD GENIUS

Lynn (Chutimon Cheungcharoensukying) keeps looking over her shoulder as a cheating scandal gets serious in Bad Genius

BAD GENIUS (CHALARD GAMES GONG) (Nattawut Poonpiriya, 2017)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Friday, June 30, 7:00
Festival runs June 30 – July 16
212-875-5601
www.filmlinc.org
www.subwaycinema.com

The sixteenth annual New York Asian Film Festival gets under way June 30 with writer-director Nattawut Poonpiriya’s big Thai hit, Bad Genius. The amazingly smart Lynn (NYAFF 2017 Screen International Rising Star Award winner Chutimon Cheungcharoensukying) switches schools for an opportunity to win a coveted scholarship and go to a better college, with the help of her father, a respected teacher (Thaneth Warakulnukroh). She quickly becomes besties with the popular Grace (Eisaya Hosuwan), who is dating snobby rich kid Pat (Teeradon Supapunpinyo). Lynn mentors Grace, who is not a very good student, and is then hired by Pat’s wealthy father (Sahajak Boonthanakit) to tutor his son to improve his low grades. Soon Grace, Pat, and several of Pat’s other friends (Vittawin Veeravidhayanant, Suwijak Mahatthanachotwanich, Narwin Rathlertkarn, Thanawat Sutat Na Ayutthaya, and Thanachart Phinyocheep) are paying substantial money to Lynn, who has devised unique ways to cheat on multiple-choice tests. As she and Bank (Chanon Santinatornkul), another smart scholarship student — whose parents (Uraiwan Puvichitsutin and Somchai Ruedikunrangsi) run a small laundry, which embarrasses him and drives him to improve his, and their, lot — compete for a prestigious Singapore scholarship, lies, betrayal, greed, and deception lead to major troubles for everyone as the crucial standardized STIC tests approach.

Bank (Chanon Santinatornkul) and Lynn (Chutimon Cheungcharoensukying) face a terrifying future in Nattawut Poonpiriya’s Bad Genius

Over the last ten years, such YA books and movies as Suzanne Collins’s Hunger Games trilogy and Veronica Roth’s Divergent series have turned teen angst over the SATs and college admissions into futuristic dystopian nightmares, but with Bad Genius, Poonpiriya’s second film — his debut, Countdown, was part of the 2013 NYAFF — takes a much more straightforward and honest approach to the fears kids experience when faced with taking tests that could impact the rest of their lives. In her film debut, Cheungcharoensukying reveals a subtle depth as Lynn, a brainiac who just wants to be accepted by her peers, while also insisting on excelling at everything she does (including cheating) and helping her divorced father with expenses. She knows exactly what she’s doing, understanding it is wrong, and she can’t stop, but it’s not only about the money. Aside from a few silly scenes and the occasional use of overly dramatic license, Poonpiriya mostly avoids genre clichés as the two-hour Bad Genius evolves into a genuine thriller with a fab chase scene, cleverly keeping the audience on the edge of their seats with unexpected twists and turns. It’s both a primer on how to cheat and how to deal with potentially getting caught. The opening-night selection of the NYAFF, Bad Genius is screening on June 30 at 7:00 at the Walter Reade Theater and will be followed by a Q&A with Nattawut “Baz” Poonpiriya, Chanon Santinatornkul, and Chutimon “Aokbab” Chuengcharoensukying and an after-party. The festival, which runs through July 16 at Lincoln Center and the SVA Theatre, consists of more than fifty films from China, Japan, Taiwan, South Korea, Hong Kong, and Southeast Asia, including a surprise twenty-fifth anniversary screening of a 1992 classic.

JEFF KOONS: SEATED BALLERINA

Jeff Koons’s “Seated Ballerina” has extended her stay at Rockefeller Center through July 5 (photo by twi-ny/mdr)

30 Rockefeller Plaza
49th St. between Fifth & Sixth Aves.
Extended through July 5, free
www.rockefellercenter.com
seated ballerina slideshow
www.artproductionfund.org

In 2000, controversial American artist Jeff Koons placed “Puppy,” a forty-three-foot-high stainless-steel sculpture of a dog covered in tens of thousands of flowering plants, in the plaza at Rockefeller Center, a work that Koons called a symbol of “love, warmth, and happiness.” In 2014, he installed at the same spot the thirty-seven-foot-high stainless-steel “Split-Rocker,” part toy pony, part dinosaur, also covered in flowering plants. And now Koons, who also had a major retrospective at the Whitney in 2014, has brought “Seated Ballerina” to Rockefeller Plaza, a forty-five-foot-high inflatable tchotchke that would feel at home in the Thanksgiving Day Parade. Inspired by a smaller piece from his “Antiquity” series, the sculpture, which recalls his balloon dogs and is sponsored by the Art Production Fund and Kiehl’s, is based on a porcelain figure by Oksana Zhnikrup, who created statuettes for the Kiev Experimental Ceramic-Art Factory beginning in 1955. Koons’s nylon ballerina, which is supposed to reference a modern-day Venus while also raising awareness for the International Centre for Missing & Exploited Children, is sitting on a tuffet, leaning over to her left and adjusting one of her ballet slippers. In the wind, she slowly rocks back and forth, her left arm in motion, strings holding her in place. (On days with severe weather she is deflated, only to rise up again on balmier times in shining gold, silver, red, and blue.) Although the signs say she will remain in Rockefeller Center through June 5, her stay has been extended until July 5, so there’s still time to catch her. As with so much of Koons’s oeuvre, what you see is pretty much what you get; some people love it, some hate it; some find it plagiaristic art lacking originality, while others consider it an entertaining bit of artistic appropriation, one of the foundations of Koons’s practice. In any case, it certainly attracts attention, both up close as well as from a distance, where “Seated Ballerina” hovers over Paul Manship’s monumental sculpture of Prometheus in the light-up fountain below. “I hope the installation of ‘Seated Ballerina’ at Rockefeller Center offers a sense of affirmation and excitement to the viewer to reach their potential,” Koons said in a statement. “The aspect of reflectivity emulates life’s energy; it’s about contemplation and what it means to be a human being. It’s a very hopeful piece.”

TWI-NY TALK: JODY OBERFELDER — THE BRAIN PIECE

Jody Oberfelder Projects will present The Brain Piece at New York Live Arts June 28 – July 1 (photo by Christopher Duggan)

JODY OBERFELDER PROJECTS: THE BRAIN PIECE
New York Live Arts
219 West 19th St. between Seventh & Eighth Aves.
Wednesday, June 28, gala benefit $200, 7:30
June 29 – July 1, $25-$35, 7:00 & 9:00
212-691-6500
newyorklivearts.org
www.jodyoberfelder.com

New York-based director, choreographer, dancer, and filmmaker Jody Oberfelder’s The Brain Piece, premiering at New York Live Arts June 28 – July 1, continues her exploration of our internal organs, following on her extraordinary 2013 piece, 4Chambers, an immersive, multimedia, interactive journey inside the human heart. Performed by Oberfelder, Mary Madsen, Pierre Guilbault, and Hannah Wendel along with ten dancer docents, The Brain Piece is divided into two parts, “Mind Matters / Head Space” and “World of Brain,” combining film, visual art, installation, dance, music, and text for an audience limited to 72 members. The cerebral, multimedia piece includes her award-winning short film Dance of the Neurons, made with Eric Siegel, which turns firing synapses into a colorful, joyous dance. Oberfelder, a travel and yoga enthusiast and former lead singer of the punk band the Bagdads, founded Jody Oberfelder Projects in 1989 and has previously presented such works as The Titles Comes Last, Moved, Re:Dress, and Throb. The charming, gregarious, always energetic creator took a break from rehearsals to tell twi-ny all about The Brain Piece.

twi-ny: We recently bumped into each other at the Whitney Biennial, where you were serving as a docent for Asad Raza’s “Root sequence. Mother tongue,” an installation of living trees paired with specific objects, one of which you contributed. As museumgoers made their way through the exhibit, I couldn’t help but think of it as a kind of improvisatory dance with nature, especially with you there. What was that experience like?

jody oberfelder: We’re actually called caregivers. The people who pass through sometimes don’t know we’re positioned as such as we, as you describe, do this improvisatory dance with people in conversation. The show has been up since March and we’ve seen the trees go from bare, to blossom, to leafing, and now they can’t wait to get planted outside. Many people have passed through. Asad’s work balances organic, inorganic, and human all in the space. Having a person in the room is as important as the trees and the caregiver’s placed object. I’m learning that conversation is often this invisible thread that links things together in the present.

twi-ny: Your work is very scientific; were you interested in science when you were a kid?

jo: I would not say I grew up with a scientific bent. I had a fourth-grade teacher, Mr. Dowd, who explained the digestive system with panache (“…and out the other end” — we were all snickering). I’ve come to science through the body, and through a curiosity about what makes us alive. There is a beautiful ecosystem within us and a giant cosmos outside of us. Did you ever see that film by Charles and Ray Eames — Powers of Ten — it’s all about zooming out and zooming in. That, to me, is what science is about. Things can be very specific and very vast.

twi-ny: Yes, Powers of Ten is quite eye-opening. How did you find/choose your science collaborators — Dr. Wei Ji Ma, Cecilia Fontanesi, and Ed Lein — and what did each one bring to The Brain Piece?

Word of mouth.

Cecilia is a dancer and a neuroscientist. She met one of my dancers, Mary Madsen, at a party. I loved talking with her from the very beginning. The thing she said, “The brain is everywhere in the body,” totally clicked with my premise of dancers illuminating brain life.

Wendy Suzuki, who helped illuminate the brain-body connection for me, introduced Wei Ji to me. Wei Ji has been a great collaborator. He comes to rehearsals to “fact check” and advise. He’s in Dance of the Neurons. I audited his class at NYU on illusion. We did a combo lecture / performance in Amsterdam.

Another neuroscientist introduced Ed Lein to me: Gary Marcus. My company manager at the time, Clare Cook, was giving him private Pilates lessons. Gary and I had several conversations, which culminated in him saying, “You know, you should meet Ed from the Allen Institute for Brain Science. He specializes in the biology of neurons.” Ed and I had a back and forth on a kind of Skype sketchpad, and he drew little pictures of how neurons are formed that eventually became the literal storyboard for Dance of the Neurons. I embellished, of course, and played with all the ways neurons “dance” and form synaptic connection. I’m most grateful to these scientists, who are also artists.

twi-ny: Without giving too much away, how will the physical space of New York Live Arts come into play? Only the second half will take place in the theater on a proscenium stage, correct?

jo: It’s my hope that there really is no separation between the sections, that the more experience-based portions of the work continue to inform the world of the brain in the theater. There are nine films in part two. When you go to movies, you don’t question that the actors are not that big. I think the problem with live theater is that we’re in a long shot for too long. I’m creating an atmosphere of a giant brain with moving parts. I think this is the nature of brain plasticity: zoom in for close-ups, see what the alignment of neurons are doing at this time, how we’re constantly in a perceptual loop.

Jody Oberfelder served as a caregiver for Asad Raza’s “Root sequence. Mother tongue” at the Whitney Biennial (photo by twi-ny/mdr)

Jody Oberfelder served as a caregiver at the Whitney Biennial (photo by twi-ny/mdr)

twi-ny: 4Chambers involved a significant amount of interaction, at one point bringing the audience into physical contact with the dancers. Will there be anything similar in The Brain Piece?

jo: You’ll see.

twi-ny: Good answer. I only recently learned that the doctor who performed the autopsy on Albert Einstein actually removed his brain and brought it home to study. What is the most unusual thing you learned about the brain while making this piece?

jo: That the brain is a noisy place and we’re constantly trying to figure things out and make sense of the world. And that our bodies are the vehicles for us to sensorially enter the world. Ask a neuroscientist to define “mind” and they have no clear thing to pin down. There were philosophers, then psychiatrists, and now great discoveries in seeing the pictures in the brain, seeing what makes things go off, decay, or become more plastic, make connections: That’s the dance of neurons. But the mind — it’s like vapor. We breathe in present and past. It’s in constant motion. And dancers are the perfect vehicles to convey this movement.

twi-ny: How have the two works brought the heart and the mind together for you?

jo: The heart leads to the mind. When working on 4Chambers, I interviewed Wendy, who talked about the sympathetic and parasympathetic nervous system and how all the way down from our brains our hearts operate. We feel our hearts, but it’s triggered by the mind. You know how what your brain is doing by what your heart is doing, and vice versa. “I can put my hand on your heart and feel your heartbeat, but if I put my hand on your skull, I can’t feel your thoughts.”

twi-ny: Regarding Dance of the Neurons, your choreography has always been very cinematic, and The Brain Piece includes that short film, which has been garnering prizes at festivals. How do you see the two disciplines merging in your work?

jo: Thank you. Someone at a festival said I was a filmic choreographer. I like that. I’m pretty visual. Like a filmmaker, I’m in the business of arranging time and space and hidden narrative. I use a lot of improvisation around ideas and look for dancers who can take the ball and run with it. I like to think that if I give the performers imaginative tasks, the content will form, and it’s my job as a director and choreographer to prepare for a rehearsal with a loose storyboard of possibilities, then go deeply inside the physical investigation for the interaction with audience members, the films, and the onstage content. Devising content is a matter of honing in on what feels right.

I worked with a wonderful dramaturg this time around: Jessica Applebaum. The piece has had many renderings. She helped me not be afraid of the complexity of the subject matter and to go forward making. Details and big picture always in mind. Jessica has also left me a lot of space these last months to figure it out on my own. Today our neuroscientist, Wei Ji, was there to see me finish the finale in our last moments of our last rehearsal!

I love it now. I’m even surprised by it.

twi-ny: I’m very much looking forward to being surprised by it as well. This might be an obvious closing question, but now with the heart and the brain covered, do you anticipate continuing to explore the mind-body connection with different organs as the focus?

jo: The sex organs will probably be combined with the guts. Like when you feel something in your gut. Intuition. Power.

SOUTHERN GOTHIC: THE BEGUILED

Clint Eastwood in The Beguiled

THE BEGUILED (Donald Siegel, 1971)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
June 26-30
Series runs June 26 – July 11
718-636-4100
www.bam.org

In conjunction with the theatrical release of Sofia Coppola’s remake of The Beguiled, which earned her the Best Director award at Cannes, BAMcinématek is hosting the sixteen-film series “Southern Gothic,” which begins with, appropriately enough, Don Siegel’s twisted 1971 original, based on Thomas P. Cullinan’s 1966 novel, A Painted Devil. On the outskirts of Mississippi, Union corporal John “McB” McBurney is seriously wounded and found in the woods by twelve-year-old Amy (Pamelyn Ferdin), who has been gathering mushrooms for dinner. The hirsute hunk is brought to Mrs. Farnsworth’s Seminary for Young Ladies to convalesce before Martha Farnsworth (Geraldine Page) turns him over to the Confederates. (The film was shot at the Ashland-Belle Helene Plantation in Louisiana.) Confined to bed until he starts getting around on crutches, McB becomes an object of romantic interest to several of the girls and women in the house, including the kindhearted Edwina (Elizabeth Hartman), who is about to become a partner in the school; the innocent Amy, who compares the wounded soldier to an injured crow; the devilishly wicked Carol (Jo Ann Harris); and Martha herself, who has been running the school and former farm by herself since the death of her beloved brother. Also intrigued by McB’s presence are young students Abigail (Melody Thomas), Lizzie (Peggy Drier), and Janie (Pattye Mattick) while Doris (Darleen Carr) doesn’t understand why they’re all helping the enemy and considers turning him in. The only one seeing the situation clearly is the slave Hallie (blues singer Mae Mercer), who discusses the concept of freedom with the corporal — who is not quite the heroic, Jesus-like figure the girls think he is — in one of the film’s most intelligent scenes. It all reaches its apex one crazy night, setting up quite a finale.

The Beguiled was the third of five movies Siegel (Invasion of the Body Snatchers, The Killers) made with Eastwood, after 1968’s Coogan’s Bluff and 1970’s Two Mules for Sister Sarah and before 1971’s Dirty Harry and 1979’s Escape from Alcatraz. It is both a feminist and sexist fantasy that is more than a little bit creepy; the original trailer referred to the females at Mrs. Farnsworth’s seminary as “man-eager girls.” The film also deals with patriotism and treason, incest and pedophilia, trust and lies, first love and sexual jealousy, and a sadomasochistic ideals of pleasure and pain that relates to the painting on Mrs. Farnsworth’s bedroom wall, Sandro Botticelli’s late-fifteenth-century “Lamentation over the Dead Christ.” Six-time Oscar nominee and Emmy and Grammy winner Lalo Schifrin’s score is all over the place, from Baroque and Renaissance music to twentieth-century melodrama and horror; in addition, an offscreen Eastwood himself mumbles the antiwar theme song, “The Dove She Is a Pretty Bird,” heard at the beginning and end of the film. Eastwood is at his stern best in The Beguiled, while Emmy and Oscar winner Page (Interiors, The Trip to Bountiful) is elegantly fragile and Oscar nominee Hartman (A Patch of Blue, Walking Tall) is achingly virginal. (The two women also costarred in Francis Ford Coppola’s underseen You’re a Big Boy Now.) The film, both a love story and a revenge thriller that is very possibly a likely influence on Stephen King’s Misery, constantly borders on misogyny but manages to raise the issue more than exploit it by the grisly end. It’s an extremely strange movie, one of the oddest ever made about the Civil War, and, as the title warns, absolutely beguiling. The Beguiled is screening June 26-30 at BAM; “Southern Gothic” continues through July 11 with such other films as Kasi Lemmons’s Eve’s Bayou, John Huston’s Wise Blood, Andrei Konchalovsky’s Shy People, Robert Aldrich’s Hush, Hush, Sweet Charlotte, and Luis Buñuel’s The Young One.