twi-ny recommended events

THE MASTER — PHILIP SEYMOUR HOFFMAN: CAPOTE / SYNECDOCHE, NEW YORK

Philip Seymour Hoffman won an Oscar for his portrayal of Truman Capote

Philip Seymour Hoffman won an Oscar for his intense portrayal of Truman Capote

CAPOTE (Bennett Miller, 2005)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Friday, September 23, $12, 7:00
Series continues through October 2
718-777-6800
www.movingimage.us
www.sonyclassics.com

In November 1959, Richard Hickock (Mark Pellegrino) and Perry Smith (Clifton Collins Jr.) brutally murdered a Kansas family. After reading a small piece about the killings in the New York Times, New Yorker writer Truman Capote (Philip Seymour Hoffman) sets out with his research assistant, Harper “Nell” Lee (Catherine Keener), to cover the story from a unique angle, which soon becomes the workings of the classic nonfiction novel In Cold Blood. Capote tells police chief Alvin Dewey (Chris Cooper) right off the bat that he cares only about the story, not what happens to the killers, which does not endear him to the local force. But when the murderers are captured, Capote begins a dangerous relationship with Smith, who comes to think of the writer as a true friend, while Capote gets caught up deeper than he ever thought possible. Based on the exhaustive biography by Gerald Clarke, Capote is a slow-moving character study featuring excellent acting and some interesting surprises, even for those who thought they knew a lot about the party-loving chronicler of high society and high living. Hoffman, who died from a drug overdose in 2014 at the age of forty-six, earned an Oscar for portraying the socialite author, who was played the following year by Toby Jones in Douglas McGrath’s Infamous, which was based on a book by George Plimpton. Capote, which was also nominated for Best Picture, Best Director (Bennett Miller), Best Supporting Actress (Keener), and Best Adapted Screenplay (Dan Futterman), is screening on September 23 in the Museum of the Moving Image series “Philip Seymour Hoffman: The Master,” a sixteen-film tribute to Hoffman, a native New Yorker who left us well before his time. The series continues through October 2 with such Hoffman films as John Patrick Shanley’s Doubt (introduced by Shanley), Todd Solondz’s Happiness, Paul Thomas Anderson’s Magnolia, and Anthony Minghella’s The Talented Mr. Ripley.

Philip Seymour Hoffman doesn’t quite understand what’s happening to him in SYNECDOCHE, NEW YORK

SYNECDOCHE, NEW YORK (Charlie Kaufman, 2008)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Sunday, September 25, $12, 4:00
718-777-6800
www.movingimage.us
www.sonyclassics.com

In films such as Being John Malkovich (Spike Jonze, 1999), Adaptation. (Spike Jonze, 2002), Confessions of a Dangerous Mind (George Clooney, 2002), and Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), writer Charlie Kaufman has created bizarre, compelling alternate views of reality that adventurous moviegoers have embraced, even if they didn’t understand everything they saw. Well, Kaufman has done it again, challenging audiences with his directorial debut, the very strange but mesmerizing Synecdoche, New York. Philip Seymour Hoffman stars as the bedraggled Caden Cotard, a local theater director in Schenectady mounting an inventive production of Death of a Salesman. Just as the show is opening, his wife, avant-garde artist Adele Lack (Catherine Keener), decides to take an extended break in Europe with their four-year-old daughter, Olive (Sadie Goldstein), and Adele’s kooky assistant, Maria (Jennifer Jason Leigh). As Caden starts coming down with a series of unexplainable health problems (his last name, by the way — Cotard — is linked with a neurological syndrome in which a person believes they are dead or dying or do not even exist), he wanders in and out of offbeat personal and professional relationships with box-office girl Hazel (a nearly unrecognizable Samantha Morton), his play’s lead actress, Claire Keen (Michelle Williams), his therapist, Madeleine Gravis (Hope Davis), and Sammy (Tom Noonan), a man who has been secretly following him for years. After winning a MacArthur Genius Grant, Caden begins his grandest production yet, a massive retelling of his life story, resulting in radical shifts between fantasy and reality that will have you laughing as you continually scratch your head, hoping to stimulate your brain in order to figure out just what the heck is happening on-screen. Evoking such films as Federico Fellini’s 8½ and City of Women, Woody Allen’s Stardust Memories, and Ingmar Bergman’s Wild Strawberries as well as the labyrinthine tales of Argentine writers Jorge Luis Borges and Julio Cortazar, Synecdoche, New York is the kind of work that is likely to become a cult classic over the years, requiring multiple viewings to help understand it all. The film is screening September 25 at the Museum of the Moving Image, with the elusive Charlie Kaufman on hand to talk about working with Hoffman. Four years after the film was released, Hoffman starred in Mike Nichols’s Broadway version of Death of a Salesman, the show his character is putting together in Synecdoche, New York.

THE GREAT BIG BACON PICNIC

great-big-bacon

The Old Pfizer Factory
630 Flushing Ave., Williamsburg
September 24-25, $79-$249 (twenty-one and older only)
greatbigbacon.com

Mmm, bacon. . . . The second annual Great Big Bacon Picnic is set for September 24-25 at the Old Pfizer Factory in Williamsburg, where more than one hundred purveyors of food and drink will join together for an extravaganza of all things bacon. Chefs from all over New York City will show just how diverse the sizzling meat can be with a bevy of bite-sized delights that can be washed down with specially selected beer, wine, and spirits. Among the many participants are BaconFB4, Traif, Williamsburg Pizza, Antony “Tony Bacon” Nassif of Mile End Deli, Tres Carnes, Roni-Sue’s Chocolates, BarBacon, Veselka, Walter Momente and Jon Streep of Alidoro, Big Papa Smokem Gourmet Smoked Meats, Brooklyn Baked and Fried, Chef’s Cut Real Jerky, Feast, Off the Hook Raw Bar & Grill, Potatopia, Dirty Burger, and 2015 GBBP champ Arthur Saks. Potent potables will be available from Shiner Beer, New Belgium Brewing Co., Van Brunt Stillhouse, Two Roads Brewing Co., Iron Smoke Whiskey, Doc Herson’s Natural Spirits, Domaine des Haute Glace “Les Moisson” French Single Malt, Domaine d’Esperance Armagnac, Derrumbes Mezcal, and many more. There are three ticket packages for the three sessions, which take place on Saturday from 12 noon to 2:30 for brunch, Saturday from 5:30 to 8:00 for happy hour, and Sunday from 1:00 to 3:30 for brunch. Brunch and happy hour are currently being discounted to $79, with half-hour early entry $114 and VIP $189 (including one-hour early entry and access to private lounges and gift bag). Ten percent of the proceeds go to such local charities as City Harvest and No Kid Hungry. The High & Mighty Brass Band will provide live music, and first-time Lyft users can get a $50 credit here. Everyone gets unlimited bacon — and no turkey bacon, soy bacon, or other substitutes. And don’t forget to belly up to the Bacon Bar.

CROSSING THE LINE 2016

THE SHOW MUST GO ON

Jérôme Bel’s THE SHOW MUST GO ON will go on at the Joyce as part of FIAF’s tenth annual Crossing the Line festival

French Institute Alliance Française and other locations
Florence Gould Hall, 55 East 59th St. between Madison & Park Aves.
FIAF Gallery, 22 East 60th St. between Madison & Park Aves.
September 22 – November 3, free – $55
212-355-6160
crossingthelinefestival.org
www.fiaf.org

We can’t help but get excited for FIAF’s annual multidisciplinary fall festival, Crossing the Line, now celebrating its tenth anniversary. Every summer, we eagerly await the advance announcement of what they’ll be presenting, then scour the lineup for the most unusual events to make sure we see them. This year is another stellar collection of cutting-edge international dance and theater, beginning September 22 and 24 with screenings of concluding episodes seven, eight, and nine of Nature Theater of Oklahoma’s epic Life and Times at Anthology Film Archives ($11), along with a Thursday night party in FIAF’s Florence Gould Hall ($10) that begins with a screening of the eighth chapter of Kristin Worrall’s rather ordinary life, with the artists themselves serving up PB&Js. The festival features a special focus on French choreographer Jérôme Bel, who will be involved in four programs, beginning October 17 (free with RSVP) with a screening of his short biographical film on Paris Opera dancer Véronique Doisneau, followed by a discussion with Bel and Ana Janevski. Bel’s award-winning The Show Must Go On will go on at the Joyce October 20-22 ($36-$46), with Bel hanging around for a Curtain Chat after the 2:00 show on October 22. Bel will present the New York premiere of his controversial eponymous 1995 signature work at the Kitchen October 27-29 ($20) while also moving over to the Museum of Modern Art October 27-31 (free with museum admission) for Artist’s Choice: MoMA Dance Company, a site-specific piece for MoMA’s Marron Atrium that will be performed by members of the MoMA staff.

Tenth annual Crossing the Line festival features special focus on breakdance world champion Anne Nguyen, including AUTARCIE (….): A SEARCH FOR SELF-SUFFICIENCY

Tenth annual Crossing the Line festival features special focus on breakdance world champion Anne Nguyen, including U.S. premiere of AUTARCIE (….): A SEARCH FOR SELF-SUFFICIENCY

Breakdance world champion Anne Nguyen is making her U.S. debut with a pair of works: the free Graphic Cyphers will take place September 23 at Roberto Clemente Plaza in the Bronx at 2:00 and in Times Square September 25 at 2:30 and 4:30, while Autarcie (….): a search for self-sufficiency has its American debut September 29 to October 1 ($20) at Gibney Dance. “I seek to reconcile the peculiarities of hip-hop with demanding theatrical performance to question the place of human beings in the modern-day world,” Nguyen says; you can hear more from her at the October 1 artist talk “Towards Cultural Equity: The Artist’s Perspective” (free with RSVP) with fellow panelists David Thomson, Mohamed El Khatib, and Rokafella, moderated by George Emilio Sanchez. The UK’s Forced Entertainment, which is “interested in confusion as well as laughter,” will likely dish out a healthy portion of both at the New York premiere of Tomorrow’s Parties in Florence Gould Hall September 28 and 30 and October 1 ($20). From September 30 to October 2 ($35-$55), Venice Biennale lifetime achievement award winner Romeo Castellucci will deliver the one-man show Julius Caesar. Spared Parts, making the most of Federal Hall’s marble columns. This past June, dancer-choreographer Maria Hassabi gave an informal preview of her latest work, Staged, on the High Line; she will now bring the final piece down to the Kitchen, below the High Line, where it will be performed by Simon Courchel, Jessie Gold, Hristoula Harakas, and Oisín Monaghan October 4-8 ($20).

Romeo Castellucci

Romeo Castellucci will make his New York City debut channeling Julius Caesar at Federal Hall

On October 6-8 and 13-15 ($35), drag fabulist Dickie Beau will conjure up Marilyn Monroe, Judy Garland, and Richard Meryman at Abrons Arts Center for Blackouts. [Ed. note: All performances of Blackouts have been canceled because of unexpected travel circumstances.] Also on October 13-15 ($20), Lora Juodkaite and Annie Hanaeur will perform the U.S. premiere of Rachid Ouramdane’s Tordre (Wrought) at Baryshnikov Arts Center; CTL veteran Ouramdane will take part in the October 15 artist talk “Towards Cultural Equity: The Institutional Perspective” (free with RSVP) with keynote speaker Patrick Weil, panelists Firoz Ladak and Zeyba Rahman, and moderator Thomas Lax. On October 25 (free with RSVP), Aaron Landsman will host Perfect City, in which a group of young people from the Lower East Side will gather at Abrons Arts Center and discuss what the future holds in store for them, particularly in their neighborhood. The festival ends on November 3 with My Barbarian’s Post-Party Dream State Caucus at the New Museum (free with RSVP), held in conjunction with the exhibition “The Audience Is Always Right.” Throughout the festival, you can check out Mathieu Bernard-Reymond’s “Transform” art exhibit in the FIAF Gallery, and Tim Etchells’s multichannel video installation “Eyes Looking” will be projected at 11:59 each night in Times Square as October’s Midnight Moment.

THE KEEPER

(photo by Maris Hutchinson / EPW Studio)

Ydessa Hendeles’s “Partners (The Teddy Bear Project)” dominates one floor of “Keeper” exhibit at New Museum (photo by Maris Hutchinson / EPW Studio)

New Museum of Contemporary Art
235 Bowery at Prince St.
Wednesday through Sunday through September 25, $10-$16
212-219-1222
www.newmuseum.org

Just about everyone collects something. From baseball cards to Wedgwood, coins to stamps, rocks to dolls, and so much else, most people have something they like to stockpile, many to the point of hoarding. The New Museum explores that natural instinct in “The Keeper,” a four-floor extravaganza of unique items that continues through September 25. “‘The Keeper’ is an unusual exhibition in that it multiplies the function of the museum by presenting, within one show, an array of imaginary museums and personal collections — what one might consider to be museums of the individual. Organized as a series of case studies or portraits, ‘The Keeper’ tells the stories of various figures through the objects they chose to protect and preserve — some extraordinarily precious and others apparently trivial or valueless,” museum director Lisa Phillips writes in the catalog foreword. “‘The Keeper,’ of course, is not simply a treatise on collections or on objects and their relative value. Rather, it points beyond these objects to the acts of those who have given themselves the task of safeguarding them, tracing the passions and impulses that inspire their intrepid undertakings, subjective quests, and chronicles of experience.” Spread across three floors plus the glassed-in lobby gallery, “The Keeper” is often reminiscent of the kind of exhibits the old American Folk Art Museum used to mount, particularly Arthur Bispo do Rosário’s tapestries and constructions using cans, dolls, beaded necklaces, bicycle wheels, clothing, and other odd items, created during fifty years in a Rio psychiatric hospital, and Hilma af Klint’s occult paintings, which she did not allow to be seen in public until twenty years after her death in 1944.

Vanda Vieira-Schmidt Weltrettungsprojekt [World Rescue Project] consists of more than thirty thousand drawings (photo by Maris Hutchinson / EPW Studio)

Vanda Vieira-Schmidt’s “Weltrettungsprojekt (World Rescue Project)” consists of more than thirty thousand drawings (photo by Maris Hutchinson / EPW Studio)

Perhaps the most obsessive collection is Ydessa Hendeles’s “Partners (The Teddy Bear Project),” an enormous two-story installation of three thousand vintage family-album photographs in which children pose with a teddy bear, along with related ephemera, spiral staircases, and classic teddy bears in vitrines, a kind of museum exhibition unto itself. Tony Bingxue has preserved sixty-two photographic studio portraits of Ye Jinglu taken in 1901 and then from 1907 to 1968, which reveal a changing culture while calling into questions of authorship. After her family escaped Germany following Kristallnacht, Hannelore Baron started making assemblages using found objects and personal mementos. Novelist Vladimir Nabokov collected butterflies, discovering nearly twenty species and naming them after family members. Yuji Agematsu picks up detritus from New York City streets and displays them in clear plastic wrappers. One of the most fascinating works is Ed Atkins’s The Trick Brain, a sixteen-minute video of found footage that scans André Breton’s personal collection of rare books and tribal artifacts, made after the poet’s death. For The Last Silent Movie, former anthropologist Susan Hiller recorded dozens of endangered or extinct languages, played over a black screen that identifies in white text what language it is and translates what is being said into English. “Today you will get to know me through my tongue,” the last known speaker of K’ora says. It’s a haunting film in an exhibition that ranges from the ridiculous to the sublime while exploring the basic human need to collect, revealing that what we are collecting and preserving is, of course, ourselves, our irreproducible minds with their endless capacity for order and choice. (On Friday, September 23, at 12:30, there will be a New Perspectives tour of the exhibit, “Keeping to Change,” led by New Museum Teaching Fellow Maggie Mustard.)

TWI-NY TALK: JOCELYN DAVIES / THE ODDS OF LIGHTNING

Jocelyn Davies

Jocelyn Davies will be at McNally Jackson on September 20 for launch party of her latest novel, THE ODDS OF LIGHTNING

McNally Jackson
52 Prince St. between Lafayette & Mulberry Sts.
Tuesday, September 20, free, 7:00
212-274-1160
www.mcnallyjackson.com
www.jocelyndavies.com

Children’s book editor and author Jocelyn Davies is one of the most upbeat, happy people you’re ever likely to meet. She’s always quick with a smile and a note of encouragement, sharing her positivity and funny sense of humor with all around her. I’ve had the privilege of being around her for several years now, working with her at HarperCollins Children’s Books, where she edits young adult novels in addition to having written the trilogy A Beautiful Dark, A Fractured Light, and A Radiant Sky. Her latest YA novel, The Odds of Lightning (Simon Pulse, September 20, $17.99), was just listed by BuzzFeed as number 6 on its list of “23 YA Books You Need to Read This Fall.” The story follows four high school friends who develop special powers when the roof they are standing on gets struck by lightning, but this is no mere update of the Fantastic Four; instead, their powers stem from common fears that are deep within them, and us. As she prepared for the September 20 book launch of The Odds of Lightning at McNally Jackson, Jocelyn took the time to answer some questions about writing and editing YA novels, facing one’s fears, and living it up in New York City, where she was born and raised.

twi-ny: You’ve never been struck by lightning yourself. Is it a particular fear of yours? Or maybe you have a special relationship with storms since you experienced a blizzard in Central Park when you were still in utero?

Jocelyn Davies: Ha! Maybe I do! Or maybe I have a special relationship to Central Park, since many scenes in the book take place there!

I’ve never been struck by lightning — but one time, I almost was! When I was a teenager, I was hiking in Colorado when a storm rolled in very suddenly. It was pouring, and there was intense lightning and thunder, and we were up on a mountain, which is not a good place to be during a thunder and lightning storm. The group I was with basically flew down the mountain to base camp as quickly as we could, with lightning flashing all around us. Memory and imagination may have intensified the experience in retrospect, but I remember dodging actual lightning bolts (just like the kids in The Odds of Lightning when they’re riding their Citi Bikes across town).

twi-ny: Yikes!

jd: I guess the appeal of lightning is that it has this sort of mythical, rare quality. It’s beautiful but dangerous, is a pretty regular occurrence in nature, but it’s rarer to be struck. There’s something magical about it, which made it the perfect catalyst to kick-start the adventure in this book. It takes place on a literal “dark and stormy night.”

twi-ny: About seven years ago, I was electrocuted in a thunderstorm at an outdoor concert, and the shock actually led to some psychological benefits, although no superpowers, like the four main characters in the book receive. If you could choose any superpower for yourself, what would it be?

jd: I want to hear more about these psychological benefits! I’ve given this a lot of thought, and right now I would want the ability to teleport anywhere in the blink of an eye. I could visit my friends across the country whenever I wanted, travel to all the places on my international bucket list — even the really far places like Australia and Japan — as easily as walking down the block, avoid the subway rush hour commute, and I’d never be late!

odds-of-lightning

twi-ny: I’m not sure even teleportation could help you avoid a New York City rush hour. The superpowers the protagonists get focus on important problems that most teenagers go through, primarily involving self-identity and trying to find one’s place in the world. Do you relate to any one character more than the others? I’m thinking it might actually be Juliet.

jd: Well, I did study theater in high school and college, like Juliet (and Lu). But on some level I’ve been a bit of all four of the main characters, at various points in my life, and I have this hunch that a lot of readers might feel that way too. I think most people go through phases where they question who they are, hold back from going for what they really want, fear getting hurt, and feel invisible. Tiny, Lu, Nathaniel, and Will’s stories are specific to their unique characters, but they also have a somewhat universal quality.

twi-ny: What was your biggest fear in high school? What is it now?

jd: I remember feeling like everything was always changing, that you couldn’t really trust or rely on anything, that even if things were going great one day, the rug could be pulled out from you the next. In the book, Tiny loves this line from The Great Gatsby about “the unreality of reality,” and the rock of the world being founded securely on a fairy’s wing. And that’s how I felt a lot of the time, that tectonic plates were always shifting beneath me, that nothing would ever stay the way it was — and that was scary. I probably relate to Tiny more now — that feeling of wanting to be heard and understood.

twi-ny: That never does go away, does it. With the stormpocalypse approaching, the high school students decide to have a blowout party, even with the SATs scheduled for the next day. Early on, you ask the question, “If it were the end of the world, would you stay at home?” What would you do if you knew that the end of the world was coming?

jd: I’d definitely spend it with my family and friends! And maybe go skydiving or cliff jumping. I would not stay at home — I’d be having one last adventure.

twi-ny: That might be a bit too adventurous for me. During the day, you’re an editor at HarperCollins Children’s Books, for whom you’ve previously written a YA trilogy. Is it hard to balance the two very different skills, writing and editing?

jd: I’ve learned a lot about the process of crafting a novel from working with so many talented writers and editors over the years. I learn new skills and lessons all the time while editing other writers’ books, and I’ve learned things from my own editors that I pass on to writers I work with. It’s a pretty symbiotic relationship. Writing and editing are two very different parts of the brain — you can’t really use both at the same time. Writing is boundless — you do a lot of experimenting, letting your imagination run wild, trying new things and seeing what works. Editing is about reining in, taking all that raw material and helping shape it into a story with a beginning, middle, and end, consistent characters, satisfying emotional arc, logical world rules. But at the end of the day, they’re both working toward the same end goal.

Jocelyn Davies

Things are looking up for YA author Jocelyn Davies with release of THE ODDS OF LIGHTNING

twi-ny: If you ever have free time to read something for yourself, what types of genres do you turn to? Or are you pretty much wrapped up in YA all the time?

jd: Sometimes I feel like I eat, sleep, and breathe YA. At any given time, I’m immersed in the world of what I’m writing, am reading a submission or a work-in-progress manuscript, and am reading a recently released YA novel. When I go on vacation and I’m looking for something to take me out of the YA world for a little bit, I gravitate toward literary fiction, humorous essays, and, lately, a good page-turning literary thriller.

twi-ny: You were born and raised in New York, and you currently live in Brooklyn and work in Manhattan. New York City is like a character unto itself in The Odds of Lightning. What are some of your favorite parts of the city?

jd: A lot of them — like Central Park, and the American Museum of Natural History — are featured in the book. Ice skating at Wollman Rink in the middle of Central Park makes you feel like a character in a New York City romantic comedy. I love the rich historic feel of the Upper West Side, the West Village, brownstone Brooklyn — places where stories were taking place long before I was born. Driving across the Brooklyn Bridge in a taxi with the windows down fills me with love for New York, every time. It always makes me feel like I’m home.

twi-ny: The launch party for The Odds of Lightning is taking place September 20 at McNally Jackson. What’s on the agenda?

jd: I’ll be having a conversation with children’s book buyer Cristin Stickles, reading from The Odds of Lightning, signing books — and maybe there will be some fun surprises!

BEYOND THE INGÉNUE: À NOS AMOURS

À NOS AMOURS

Sandrine Bonnaire makes a stunning debut as a sexually active teen in Maurice Pialat’s À NOS AMOURS

CINÉSALON: À NOS AMOURS (Maurice Pialat, 1983)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, September 20, $14, 4:00
Series continues Tuesdays through October 25
212-355-6100
www.fiaf.org

Sandrine Bonnaire won the César for Most Promising Actress in her film debut, Maurice Pialat’s À nos amours, and she has more than fulfilled that promise in her still-vibrant thirty-plus-year career. Bonnaire stars as fifteen-year-old Suzanne, who suddenly becomes sexually promiscuous one summer. “‘Don’t you think one can die of love?’” she asks, rehearsing for a camp play. “‘You told me you loved me. What kind of a world is this?’” As Suzanne flits about from lover to lover, her family begins to notice a change in her and is not very happy about it. Her mother (Evelyne Ker) and father (Pialat) are on the verge of a breakup, and her creepy brother, Robert (Dominique Besnehard), doesn’t really get any of it; all three seem emotionally stunted, able only to express their feelings about Suzanne’s behavior by striking her physically. Suzanne is a decidedly contemporary Western European ingénue; the film casts no aspersions on her and does not judge her actions, even if her mother and Robert do. Bonnaire was around the same age as her character when she made the film, which contains significant nudity and bed scenes if not graphic depictions of sex; the film would likely have been wildly controversial if made in Hollywood with a fifteen-year-old American actress. Suzanne’s father, a furrier who has left his wife for another woman, is sad that she has lost one of her dimples, a sign of her maturing; when she was a baby, he wanted to protect her from kidnapping, but now he knows and accepts that he no longer has control over her life. Suzanne enjoys the sex she is having but is obviously seeking something more; but Pialat, the director of the film and who also plays the fictional father, never delves too deeply into her psyche, refusing to provide any easy answers or simplistic resolutions for this complex coming-of-age story.

À NOS AMOURS

Suzanne (Sandrine Bonnaire) has a complicated relationship with her father (cowriter-director Maurice Pialat) in À NOS AMOURS

It’s not even clear how much time passes between scenes and boyfriends, whose names essentially become interchangeable. Pialat wrote the incisive script with Arlette Langmann, Claude Berri’s sister; Pialat and Langmann previously collaborated on 1980’s Loulou, in which Isabelle Huppert plays a young wife who undergoes a sexual reawakening. Bonnaire, who would go on to make such films as Pialat’s Under the Son of Satan and Police, Patrice Leconte’s Monsieur Hire, Claude Chabrol’s La Cérémonie, and Régis Wargnier’s Est-Ouest, earning another six César nominations and one more win (for Agnès Varda’s Vagabond), is extraordinary in her first film. Cinematographer Jacques Loiseleux falls in love with her eyes, following them as they wander, linger, and focus with an intelligence far beyond her years, and you will too. À nos amours is screening at 4:00 on September 20 in the FIAF CinéSalon series “Beyond the Ingénue,” which continues Tuesday nights through October 25 with such other films as Céline Sciamma’s Water Lilies Éric Rohmer’s Pauline at the Beach, and Jacques Rozier’s Adieu Philippine.

BROOKLYN BOOK FESTIVAL 2016

Literature lovers will gather in Brooklyn on September 18 for eleventh annual Brooklyn Book Festival

Literature lovers will gather in Brooklyn on September 18 for eleventh annual Brooklyn Book Festival

Multiple locations in Brooklyn
Sunday, September 18, free, 10:00 am – 6:00 pm
www.brooklynbookfestival.org

The eleventh annual Brooklyn Book Festival celebrates literature and the best borough in the world with a fab lineup of more than three hundred writers participating in more than one hundred events at Brooklyn Borough Hall, the Brooklyn Historical Society, Brooklyn Law School, Columbus Park, Cadman Plaza, and other venues. Below are our suggestions for what do to each hour. In addition, there will be more than three hundred booths, from indies and major publishers to other literary organizations.

Powerful by Design: Chip Kidd and Kyle Baker, moderated by Joan Hilty, Brooklyn Historical Society, 128 Pierrepont St., 10:00 am

Best of Brooklyn: Jacqueline Woodson, moderated by A. O. Scott, St. Francis College Auditorium, 180 Remsen St., 11:00 am

A Conversation with Margaret Atwood, moderated by Calvin Reid and introduced by Meg Lemke, St. Francis College Auditorium, 180 Remsen St., 12 noon

Bewitched, Bothered, and Bewildered, with Alexis De Veaux, Joyce Carol Oates, and Andre Dubus III, moderated by Gregory Cowles, St. Francis College Auditorium, 180 Remsen St., 1:00

Short But Sweet, with Ben Katchor, Emily Flake, and Glen Baxter, moderated by Connie Sun, Brooklyn Historical Society, 128 Pierrepont St., 2:00

Wanderlust and the Search for Meaning, with Russell Banks, Sarah Glidden, and Pico Iyer, moderated by Timothy J. Houlihan, Congregation Mt. Sinai, 250 Cadman Plaza West, 2:30

Who Tells Your Story? Identity and Representation on the Contemporary American Stage, with Madeline George, Stephen Adly Guirgis, Alvin McCraney, Lucy Thurber, and Carl Hancock Rux, Main Stage, Columbus Park, 3:00

Darkly Comic, with Rick Moody, Geoff Dyer, and A. M. Homes, moderated by Ian S. Maloney, Borough Hall Courtroom, 209 Joralemon St., 4:00

Source Texts, with Salman Rushdie, Elizabeth Nunez, and Michael Seidlinger, moderated by Baz Dreisinger, St. Francis College Auditorium, 180 Remsen St., 5:00