twi-ny recommended events

SUMMER RESTAURANT WEEK 2015

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Multiple locations
July 20 – August 14
Lunch $25, dinner $38
www.nycgo.com/restaurantweek

You can “Eat Up” again at the twenty-fourth annual Summer Restaurant Week at more than three hundred spots serving three-course lunches for $25 and/or dinners for $38. You can find just about any kind of cuisine you’re interested in, from pan-Latin, new American, Cuban, Italian, Asian fusion, Australian, Greek, Mexican, Brazilian, Vietnamese, and Spanish to Indian, Mediterranean, steakhouse, Chinese, seafood, barbecue, Japanese, French, soul food, Peruvian, Thai, African, Korean, and continental. Among the myriad participating eateries are such new and returning favorites as American Cut, Asia de Cuba, Aureole, Bann, Barbetta, Casa Lever, City Hall, Darbar, Esca, Gotham Bar & Grill, HanGawi, Il Mulino, JoJo, Le Cirque, Mercer Kitchen, and Red Rooster Harlem, many of which have posted their special menus on the promotion’s official website. Below is a small sampling of meals you can put together at several city favorites.

‘21 Club’: ‘21’ Caesar Salad; Faroe Islands Salmon; Ricotta Tart

Artisanal Fromagerie & Bistro: Parmesan Arincini in Black Garlic Aioli; Dry Aged Hanger Steak with Frites and Watercress; Chocolate Hazelnut Bomb

Bar Boulud: Chilled Tomato Gazpacho with Focaccia Crouton and Pesto; Brown Butter Skate Grenobloise with Onion Soubise and Swiss Chard; Entremet “Crème Brûlée” with Coconut Tuile and Strawberry Sorbet

Blue Smoke: NOLA Barbecue Shrimp; Cornmeal Fried Catfish with Roasted Corn Succotash; Key Lime Pie

The Cecil: Crispy Squash Blossoms with Lemon Grass Shrimp, Hearts of Palm, and Cilantro; Roti with Jollof Rice and Pine Nut Dressing; Baobab Mousse with Olive Oil Cake, Lavender Honey Ice Cream, Raspberries, and Hibiscus Cream

Delmonico’s: Gulf Shrimp Risotto with Heirloom Tomato, Charred Corn, and Basil; Overnight Barbecued Short Rib with Roast Garlic and Herbed Grits, Charred Corn, and Summer Greens; Dark Chocolate Mousse Cake with Salted Caramel Sauce

I Trulli: Pulpo Grilled Octopus Salad with Black Chickpeas and Cerignola Olives; Merluzzo Pan Roasted Chatham Cod with Roasted Peppers, Cherry Tomatoes, and Eggplant; Tiramisu Mascarpone Mousse Layered with Espresso-Soaked Ladyfingers

Lure Fishbar: Fresh Shucked Oysters with Dipping Sauces; Nori Crusted Tuna with Garlic Fried Rice, Chinese Broccoli, and Citrus Emulsion; Vanilla Bean Blackberry Semifreddo with Roasted White Peaches, Blackberry
Champagne Sauce, and Blackberry Foam

Petrossian: Petrossian Smoked Salmon with Crème Fraîche, Dill, and Toast Points; Pan Roasted New York Steak with Rhubarb, Celeriac Puree, Brussels Sprouts, Asparagus, Coco Beans, and Cinnamon Sauce; Peach Crumb Cake with Vanilla Ice Cream

Russian Tea Room: Traditional Tea Room Red Borscht with Pickled Red Beets, Seasonal Vegetables, and Dill in a Short Rib and Bacon Broth Served with a Braised Beef Pirozhok; Boeuf à la Stroganoff of Red Wine Braised Beef Short Ribs with Thick Noodles Tossed in a Creamy Mushroom and Black Truffle Cream Sauce; Chocolate Mousse Cake with a Chocolate Hazelnut Crunch Center

Tao: Bang Bang Chicken Salad; Asian BBQ Hanger Steak with Pepper Spiced Fries; Chocolate Zen Parfait

Yerba Buena: Chupe de Camaron Shrimp Soup, Peruvian Potatoes, Fava Beans, Queso Fresco, Aji Panka; Lechon Suckling Pig Carnitas, Habanero-Orange Salsa, Cactus Salad, Chicharron; Tarta de Queso Mezcal Cherry Cheese Tart, Chantilly, Smoked Chocolate Ganache

THE ESSENTIAL JOHN FORD: THE SEARCHERS

In iconic Western, Jeffrey Hunter and Ethan Edwards search for Natalie Wood, with very different motives

THE SEARCHERS (John Ford, 1956)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Friday, July 17, $12, 7:00, and Saturday, July 18, $12, 4:30
Series runs through August 2
718-777-6800
www.movingimage.us

That’ll be the day when someone tries to claim there’s a better Western than John Ford’s ethnocentric look at the dying of the Old West and the birth of the modern era. Essentially about a gunfighter’s attempt to find and kill his young niece, who has been kidnapped and, ostensibly, ruined by Indians, The Searchers is laden with iconic imagery, inside messages, and not-so-subtle metaphors. Hence, it is no accident that John Wayne’s son, Patrick, plays an ambitious yet inept officer named Greenhill. The elder Wayne stars as Ethan Edwards, a tough-as-nails Confederate veteran seeking revenge for the murder of his brother’s family; he’s also out to save Debbie (Natalie Wood) from the Comanches, led by a chief known as Scar (Henry Brandon), by ending her life, because in his world view, it’s better to be dead than red. Joining him on his trek is Debbie’s adopted brother, Martin Pawley (Jeffrey Hunter), who wants to save her from Edwards. The magnificent film balances its serious center with a large dose of humor, particularly in the relationships between Ethan and Martin and Ethan with his Indian companion, Look (Beulah Archuletta). And keep your eye on that blanket in front of the house. The Searchers is screening July 17 & 18 as part of the Museum of the Moving Image series “The Essential John Ford,” which continues through August 2 with such other Ford fare as The Long Gray Line, The Quiet Man, Sergeant Rutledge, Mogambo, and Stagecoach. Born in Maine in 1894, Ford made some of the most dazzling Westerns and literary adaptations ever put on celluloid; he passed away in 1973 at the age of seventy-nine, having won four Best Director Oscars among his nearly 140 pictures.

ANDREI TARKOVSKY, SCULPTING IN TIME: STALKER

Andrei Tarkovsky’s STALKER takes place in the fantastical land known as the Zone

Andrei Tarkovsky’s STALKER takes place in the fantastical land known as the Zone

STALKER (Andrei Tarkovsky, 1979)
Museum of Arts & Design
2 Columbus Circle at 58th St. & Eighth Ave.
Friday, July 17, $10, 7:00
Series continues Friday nights through August 28
212-299-7777
madmuseum.org

Set in a seemingly postapocalyptic world that is never explained, Andrei Tarkovsky’s Stalker is an existential work of immense beauty, a deeply philosophical, continually frustrating, and endlessly rewarding journey into nothing less than the heart and soul of the world. Alexander Kaidanovsky stars as Stalker, a careful, precise man who has been hired to lead Writer and Professor (Tarkovsky regulars Anatoli Solonitsyn and Nikolai Grinko, respectively) into the forbidden Zone, a place of mystery that houses a room where it is said that people can achieve their most inner desires. While Stalker’s home and the bar where the men meet are dark, gray, and foreboding, the Zone is filled with lush green fields, trees, and aromatic flowers — as well as abandoned vehicles, strange passageways, and inexplicable sounds. The Zone — which heavily influenced J. J. Abrams’s creation of the island on Lost — has a life all its own as past, present, and future merge in an expansive land where every forward movement is fraught with danger but there is no turning back. An obsessive tyrant of a filmmaker, Tarkovsky imbues every shot with a supreme majesty, taking viewers on an unusual and unforgettable cinematic adventure.

Loosely based on the novel Roadside Picnic by the Strugatsky Brothers, Stalker is screening July 17 at 7:00 as part of the the Museum of Arts & Design film series “Andrei Tarkovsky, Sculpting in Time,” which runs Friday nights through August 28 and includes all seven of Tarkovsky’s masterpieces (Solaris, Stalker, Ivan’s Childhood, Andrei Rublev, The Mirror, Nostalghia, The Sacrifice) before concluding with the behind-the-scenes documentary Directed by Andrei Tarkovsky. Tarkovsky, who died in 1986 at the age of fifty-four, was a superior craftsman whose cinematic oeuvre is filled with poetry and wonder, mystery and self-examination, exploring life and death, the past, the present, and the future, incorporating mesmerizing sound and visuals in telling complex stories like one else before or since. (For our 2012 twi-ny talk with Geoff Dyer, the author of Zona: A Book about a Film about a Journey to a Room, which offers quite a unique take on Stalker, go here.)

JELLYFISH EYES

JELLYFISH EYES

Masashi (Takuto Sueoka) and cuddly cute Kurage-bo have to save their strange Japanese town in Takashi Murakami’s JELLYFISH EYES

JELLYFISH EYES (Takashi Murakami, 2015)
IFC Center
323 Sixth Ave. at West Third St.
Opens Wednesday, July 15
212-924-7771
www.jellyfisheyesthemovie.com
www.ifccenter.com

Japanese artist and brand name Takashi Murakami — his 2008 exhibition at the Brooklyn Museum was unironically titled “© Murakami” — brings his unique take on his country’s culture and history to the big screen in his feature debut, Jellyfish Eyes. In his catalog essay “Flat Boy vs. Skinny: Takashi Murakami and the Battle for ‘Japan,’” Dick Hebdige wrote, “Combining shock and awe in equal measure with a destruction/solicitation strategy aimed at winning over jaded hearts and minds, Superflat functions like the ancient Trojan horse to penetrate the art and fashion world’s defenses and to neutralize whatever vestiges remain in the age of the corporate-sponsored art opening of the hermeneutics of suspicion.” That shock and awe is at the center of Murakami’s film, a battle for Japan as seen through the eyes of children, the only ones left with any semblance of humanity in a post-Hiroshima, post-Fukushima world. Sixth grader Masashi Kusakabe (Takuto Sueoka) has just moved to a strange suburban town with his recently widowed mother, Yasuko (Shizuko Amamiya). Masashi instantly makes a new friend, Kurage-bo, a ridiculously adorable jellyfish-like flying creature who goes with him everywhere. Once at school, Masashi discovers that all of the kids have a F.R.I.E.N.D. (the acronym comes from “life-Form, Resonance, Inner Energy, Negative emotion, Disaster prevention”), a kind of avatar/yōkai reminiscent of the daemons in Philip Pullman’s His Dark Materials trilogy. Some of the boys engage their cute or scary buddies in fights akin to bullying, controlling them with electronic devices that evoke the global obsession with smartphones and video games. Masashi makes a real friend in Saki Amamiya (Himeka Asami), a fellow student who abhors fighting and protects herself with her hairy oversize companion, Luxor. As the adults get caught up in strict rules, religious cults, and an unhealthy obsession with safety, a quartet of kids known as the Black Cloaked Four — Blue Dragon (Masataka Kubota), White Tiger (Shota Sometani), Black Tortoise (Hidemasa Shiozawa), and Vermilion Bird (Ami Ikenaga) — is working with Masashi’s uncle, Naoto (Takumi Saito), to capture enough negative energy to destroy and rebuild Japan. Oh, did we mention that this is a kids movie?

JELLYFISH EYES

JELLYFISH EYES director Takashi Murakami playfully poses with some F.R.I.E.N.D.s (photo by Chika Okazumi)

It comes as no surprise that Jellyfish Eyes is a bright, colorful film set in a magical otaku/kawaii-crazed society (designed by art director Nori Fukuda), like Murakami’s paintings and sculptures come to life, with dazzling hues jumping off the screen; only the symbol of the Black Cloaked Four, the yin and yang sign, is in cold black-and-white. The F.R.I.E.N.D.s, from Masashi’s Kurage-bo and Saki’s Luxor to Tatsuya’s evil Yupi and Juran’s violent Shimon, as well as Koh’s Ko2, a large-scale, round-eyed anime girl, are tailor made for merchandising, and they are indeed available for purchase. Murakami has always had a dark side, perhaps never so clear as in his most recent exhibition, “In the Land of the Dead, Stepping on the Tail of a Rainbow,” a reaction to the devastation of the 2011 earthquake and tsunami, and it’s at the center of Jellyfish Eyes, the first of a proposed trilogy. But it’s also part of the problem, creating a murkiness and confusion in a narrative that doesn’t always make sense. The soundtrack, by KZ (livetune) and Yoshihiro Ike, is treacly sweet to a fault, and Murakami overdoes the CGI fight scenes. He’s also not shy about declaring this a message picture; “In the wake of 3/11, the damage sustained by Japan runs deep. We must all do our best to emerge from that shadow,” he has stated in reference to the film, as well as “In a sense, one of the few places in which the darkness still lurks in our time is inside mobile phones. Their screens are pitch black.” Murakami and screenwriter Jun Tsugita liberally borrow from such familiar tales as Godzilla, Where the Wild Things Are, Pokémon, and E.T. the Extra-Terrestrial, and the overload of cultural references threaten to pull Jellyfish Eyes down. But Sueoka’s charming innocence and Kurage-bo’s angelic delightfulness eventually triumph over the film’s various shortcomings. Jellfyish Eyes opens July 15 at the IFC Center, with Murakami on hand for a Q&A at the 7:00 show on Wednesday night.

TRUE CRIME: MEMORIES OF MURDER

Detectives Park (Song Kang-ho) and Cho (Kim Roe-ha) are on the case in MEMORIES OF MURDER

Detectives Park (Song Kang-ho) and Cho (Kim Roe-ha) are on the case in MEMORIES OF MURDER

MEMORIES OF MURDER (SALINUI CHUEOK) (Bong Joon-ho, 2003)
Film Forum
209 West Houston St.
Saturday, July 18, 4:30, and Saturday, July 25, 4:40
Series continues through August 5
212-727-8110
filmforum.org

Inspired by actual events, Bong Joon-ho’s Memories of Murder is a psychological thriller set in a rural South Korean town. With a serial killer on the loose, Seoul sends experienced inspector Suh (Kim Sang-kyung) to help with the case, which is being bungled by local detectives Park (Song Kang-ho) and Cho (Kim Roe-ha), who consistently tamper with evidence, bring in the wrong suspects, and torture them in both brutal and ridiculously funny ways. But as the frustration level builds and more victims are found, even Suh starts considering throwing away the book and doing whatever is necessary to catch the killer. Bong’s first major success, earning multiple awards at film festivals around the world, Memories of Murder is a well-paced police procedural that contains just enough surprises to overcome a few too many genre clichés. The film is beautifully shot by Kim Hyung-gu, from wide-open landscapes to a busy, crowded factory. But the film is dominated by Song’s (The Host, Snowpiercer) big, round face, a physical and emotional wonder whether he’s goofing around with a prisoner or dead-set on catching a criminal. Winner of numerous international film festival awards, Memories of Murder is screening July 18 & 25 as part of Film Forum’s “True Crime” series, which continues through August 5 with such other ripped-from-the-headlines favorites as Sidney Lumet’s Serpico and Dog Day Afternoon, Franceso Rosi’s The Mattei Affair, Fritz Lang’s M, and double features of Alfred Hitchcock’s Rope and Tom Kalin’s Swoon and Robert Wise’s The Body Snatcher and I Want to Live!

JAPAN CUTS 2015: ASLEEP

ASLEEP

Terako (Sakura Ando) hides from life in her bed in Shingo Wakagi’s ASLEEP

FESTIVAL OF NEW JAPANESE FILM: ASLEEP (SHIRAKAWAYOFUNE) (Shingo Wakagi, 2015)
Japan Society
333 East 47th St. at First Ave.
Thursday, July 16, $13, 6:30
Series runs July 9-19
212-715-1258
www.japansociety.org

Shingo Wakagi’s Asleep is a quiet gem of a film, a poignant drama about three women’s relationship with beds and sleep. Sakura Ando stars as Terako, a young woman who is sleeping most of her life away. The only time she wakes up and gets out of bed is when her married lover, the somewhat older Mr. Iwanaga (Arata Iura), calls her to make a date. Terako’s best friend and former roommate, Shiori (Mitsuki Tanimura), recently committed suicide shortly after complaining about the difficulties of her job as a soineya, providing companionship — but not sex — by lying in bed with strangers who do not want to sleep alone. And Terako soon discovers that Iwanaga’s wife is languishing in a hospital bed in a deep coma. As Terako cares more and more for Iwanaga, she finds it harder and harder to get out from under the covers, trying to hide from a life surrounded by loneliness and death.

ASLEEP

Terako (Sakura Ando) and Mr. Iwanaga (Arata Iura) try to find love and romance in ASLEEP

Ando (Love Exposure) and Iura (After Life, Air Doll), who played rival siblings in Yang Yong-hi’s Our Homeland, have an offbeat yet sweet chemistry as lovers in Asleep, each in need of different forms of physical and psychological comfort. Wakagi (Waltz in Starlight, Totemu: Song for Home) cowrote, directed, and photographed the film, based on Banana Yoshimoto’s 1989 novella, and he gives it a literary quality with soft voice-over narration by Ando as the troubled Terako, who is first shown lying flat on her back on her futon, in black-and-white, as if she’s dead. “If someone could guarantee that this is really love, I’d be so relieved I’d kneel at her feet,” she says after receiving a phone call from Iwanaga, continuing, “And if it isn’t love, don’t let me hear when he calls,” hiding under the sheets and plowing her head deeper into her pillow. Asleep is an intimate tale, playing out almost like a confessional as a young woman deals with love and depression, nearly paralyzed by a fear of taking control of her life. Wakagi includes little dialogue and no musical score, only the natural sounds of the city and the deafening silence of the bedroom, broken only by the buzzing of the telephone offering her an opportunity that both excites and frightens her. Asleep is part of the Centerpiece Presentation of Japan Society’s annual Japan Cuts Festival of New Japanese Film, screening July 16 at 6:30, with Ando on hand to introduce the film and participate in a Q&A afterward. The festival runs through July 19 with such other works as co-Centerpiece Presentation 100 Yen Love, also starring Ando; The Voice of Water, with an intro by and Q&A with director Masashi Yamamoto and special guests Yui Takagi and Shigetaka Komatsu; and This Country’s Sky, with director Haruhiko Arai and star Youki Kudoh at Japan Society to talk about the film.