twi-ny recommended events

A CLOSE-UP OF ABBAS KIAROSTAMI: FIVE DEDICATED TO OZU / ROADS OF KIAROSTAMI

FIVE DEDICATED TO OZU is screening as part of tribute to Abbas Kiarostami at Lincoln Center

FIVE DEDICATED TO OZU (Abbas Kiarostami, 2003)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Thursday, February 14, $13, 8:45
Series continues through February 17
212-875-5601
www.filmlinc.com

We first saw Abbas Kiarostami’s gorgeous five-part film Five Dedicated to Ozu at the Iranian director’s 2007 multidimensional MoMA exhibit, “Image Maker,” where all five segments ran continuously and simultaneously in five semiprivate partitioned spaces, each with its own comfy bench. The film as a whole, which is composed of static shots on a beach in Galicia, are dedicated to Japanese director Yasujiro Ozu, whose films attempted to catch the reality of human existence in all its simplicity. In the first episode, the coming waves threaten a piece of driftwood; we dare you not to create your own narrative in your head once the wood is split apart. (By the way, this is the only part of the film that includes any camera movement at all, as Kiarostami opts to follow the driftwood for one short moment.) For the second scene, the camera is moved to the boardwalk, with people passing to the right and left as the surf continues to crash onto the shore; this is the least compelling of the five pieces. Back on the beach for the third part, the camera finds a group of stray dogs in the distance, nestled together by the water; again, as one dog gets up and moves away, left to himself, you’ll create your own ideas about what is really happening. Next is the funniest section of the movie, as a long line of ducks don’t know whether they’re coming or going, but they do so determinedly. Finally, the last scene takes place at night, as the moon glistens in a dark sky as the sounds of frogs and nature envelop this small part of the earth. Relax and let your mind wander during this fascinating and fun cinematic experience that we found exhilarating as a single work — but we also loved how it was installed at MoMA, where you could sit down with any of the films at any time and just let them take you away. Five Dedicated to Ozu is screening Thursday, February 14, at 8:45 with Kiarostami’s 2006 short Roads of Kiarostami at the Walter Reade Theater as part of the Film Society of Lincoln Center series “A Close-Up of Abbas Kiarostami,” which continues through February 17 with such other films as 10 on Ten, Fellow Citizen, Life and Nothing More, Through the Olive Trees, and more works by the master Iranian director in celebration of his latest, Like Someone in Love, which opens theatrically February 15.

RONALD K. BROWN / EVIDENCE

INCIDENTS will be part of Evidence’s winter season at the Joyce (photo by Julia Cervantes)

Joyce Theater
175 Eighth Ave. at 19th St.
February 12-17, $10-$49
212-242-0800
www.joyce.org
www.evidencedance.com

Brooklyn-based choreographer Ronald K. Brown refers to what his company does as “the ritual and journey of dance,” and they continue what has been an exciting and rewarding journey this week at the Joyce. Founded by Brown in 1985, Evidence, a Dance Company, which incorporates traditional West African rhythm and movement into its exploration of the African American experience, will be performing two programs February 12-17. The first is highlighted by the world premiere of Torch, which is dedicated to the life and memory of former Brown student Beth Young, who passed away in January 2012, along with 2005’s Order My Steps, set to the music of Terry Riley, Fred Hammond, and Bob Marley; 2005’s IFE/My Heart, with guest artist and Alvin Ailey veteran Matthew Rushing, who recently performed in Brown’s updated version of Grace for Ailey’s winter season at City Center; and excerpts from 1998’s Incidents, in which five women evoke slavery life, with music by the Staple Singers, Aretha Franklin, and Wunmi Olaiya. Program B includes 2001’s Walking Out the Dark, combining an original score by Philip Hamilton with text in addition to songs by Sweet Honey in the Rock, Francisco Mora, and M’Bemba Bangoura; and 1998’s Upside Down, an excerpt from Destiny, which examines community mourning, set to the title song by Fela Kuti and “Kun Fe Ko (The Uncertainty of Things)” by Oumou Sangare. There will be a Dance Chat following the February 13 show and a Joyce Pre-Show talk before the February 14 performance, led by Amy Kail. Following the Joyce presentation, Brown and Evidence will be back next month, performing the 1999 Philadanco commission Gatekeepers March 15-17 as part of the 92nd St. Y Harkness Dance Festival series “Stripped/Dressed.”

LUNCH HOUR NYC

The Automat played a major role in the development of lunch in New York City (photo by twi-ny/mdr)

The New York Public Library
Stephen A. Schwartzman Building
D. Samuel and Jeane H. Gottesman Exhibition Hall
Daily through February 17, free
917-275-6975
www.nypl.org

While there might not be any such thing as a free lunch, there is a tasty free lunch exhibit at the New York Public Library, continuing through February 17. “Lunch Hour NYC” looks at the history of the midday meal, from the etymology of the word “lunch” itself to the many ways it has been served and eaten in the Big Apple over the years. The display, in the D. Samuel and Jeane H. Gottesman Exhibition Hall, explores the development of such iconic lunchtime fare as pretzels, pizza, pastrami, hot dogs oysters, and Chinese takeout and delivery; the need for speed, as workers ate their lunch on the run, heading quickly back to the office; saving money by going home for lunch; the beginning of the school lunch program; and the power lunch, where businessmen met in such lofty establishments as Sardi’s, Delmonico’s, and the Algonquin to talk politics and economics while eating fancy meals. The exhibit has special focuses on the Automat, including a portion of the famous serving machine, with recipe cards inside instead of food; personal stories from immigrants; an interview with Ed Beller, one of the creators of the stainless-steel hot-dog cart; the onset of the women’s power lunch, led by such clubs and gatherings as Sorosis and Heterodoxy; a chart of luncheonette slang, such as “Put a stretch on it” meaning a sandwich to go; and selections from the library’s own extensive collection of menus that go back more than a century. Among the other objects on view are a wooden oyster cart that traces the price of oysters back to the 1820s; an old Heinz soups display; dozens of lunch boxes; a delivery bicycle; and caricatures from the walls of Sardi’s. “Eating is done in the Metropolis with the haste of Americans intensified,” journalist Junius Henri Browne said in 1868. “Everybody talks at once; everybody eats at once; and everybody seems anxious to pay at once.” This exhibit shows that not a whole lot has changed in the nearly 150 years since. As an added bonus, different food truck will be parked on the 40th St. side of the library at Fifth Ave. from 11:00 am to 3:00 pm: Mexicue on Monday, Milk Truck on Tuesday, Nuchas on Wednesday, Chinese Mirch on Thursday, and Souvlaki GR on Friday, with the Treats Truck on Tuesday from 4:00 to 7:00 and Coolhaus the same time on Friday.

VIDEO OF THE DAY: “DO THE STRAND” BY THE BRYAN FERRY ORCHESTRA

The most elegant man in the history of rock has now made his most elegant album yet in a career of elegant albums. In 1999, Bryan Ferry, who cofounded seminal British art rockers Roxy Music, released As Time Goes By, a collection of 1930s standards featuring Ferry on vocals, backed by an old-fashioned big band. Now sixty-seven, Ferry is releasing his latest record, The Jazz Age (BMG/Chrysalis), in the U.S. this week, thirteen songs selected from throughout his career, performed by the Bryan Ferry Orchestra. “After forty years of making records, both in and out of Roxy Music,” Ferry explains on his website, “I thought now might be an interesting moment to revisit some of these songs, and approach them as instrumentals in the style of that magical period — bringing a new and different life to these songs — a life without words.” For The Jazz Age, Ferry has chosen such Roxy favorites as “Do the Strand,” “Virginia Plain,” “Love Is the Drug,” and “Avalon” along with such solo hits as “Slave to Love,” “This Is Tomorrow,” and “The Only Face,” played in the style of the Roaring Twenties by longtime Ferry musical director Colin Good on piano, Robert Fowler on clarinet, Malcolm Earle-Smith on trombone, John Sutton on drums, Martin Wheatley on guitar, banjo, and ukulele, Alan Barnes on baritone sax and clarinet, Enrico Tomasso on trumpet, and Richard White on bass saxophone. The songs take on a new life indeed, bursting with fresh energy, together forming a soundtrack to a period film that doesn’t actually exist, except in the listener’s imagination. Some are more recognizable in relation to their original incarnations than others, but each one is a delight, playing off elements of their rock versions with genius and even a touch of mystery. “Slave to Love” is particularly effective, liable to cause you to start whirling around, humming along and dancing. Ferry will be touring the UK in the fall of 2013 with his rock band as well as the Jazz Age orchestra; there are no US dates announced, but you can meet the ever-elegant gentleman on Tuesday, February 12, when he’ll be at the Union Square Barnes & Noble at 7:00, signing copies of the new album. (He will not be performing.) The event space opens up at 5:00, and you must purchase the CD at B&N in order to join the line. In the meantime, you can check out the record, the best album of the year so far, for free on his website here.

VALENTINE’S DAY COOKIE SWAP AND COOKBOOK SIGNING

Deb Perelman of the Smitten Kitchen will one of several Brooklyn cookbook authors taking part in cookie swap and signing at powerHouse Arena on February 12 (photo by twi-ny/mdr)

Deb Perelman of the Smitten Kitchen will be one of several New York cookbook authors taking part in cookie swap and signing at powerHouse Arena on February 12 (photo by twi-ny/mdr)

powerHouse Arena
37 Main St. at Water St., Brooklyn
Tuesday, February 12, free, 7:00
718-666-3049
www.powerhousearena.com

DUMBO’s powerHouse Arena is doing its part in trying to make sure everyone has a sweet Valentine’s Day with a cookie swap and cookbook signing on February 12 featuring four of the hottest baking enthusiasts around. On hand to talk about their favorite recipes and to sign copies of their books will be Deb Perelman and The Smitten Kitchen Cookbook (Knopf, October 2012, $35), Dawn Casale and One Girl Cookies (Clarkson Potter, January 2012, $22.50), Adam Roberts and Secrets of the Best Chefs (Artisan, November 2012, $27.95), and Matt Lewis and Renato Poliafito with Baked Elements (Stewart, Tabori & Chang, September 2012, $32.50). Attendees who bring their own homemade cookies will go home with a tin of other cookies in what should be a rather tasty swap.

WHEN BOY MEETS GIRL: THE CINEMA OF LEOS CARAX

Alex (Denis Lavant) and Mireille (Mireille Perrier) share their unique views on life in Leos Carax’s Nouvelle Vague tribute

CinémaTuesdays: BOY MEETS GIRL (Leos Carax, 1984)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, February 12, $10, 12:30, 4:00, 7:00
212-355-6160
www.fiaf.org

French auteur Leos Carax learned a lot about making movies during his stint as a critic for Cahiers du cinéma, the magazine that came to represent the Nouvelle Vague movement of the 1950s. Born Alexandre Oscar Dupont in a Paris suburb in 1960, Carax released his first feature-length film in 1984, Boy Meets Girl, a black-and-white homage to the legacy of Jean-Luc Godard, François Truffaut, and Claude Chabrol as well as King Vidor, Buster Keaton, and Ingmar Bergman. Yet despite its obvious influences, Boy Meets Girl triumphs as a uniquely told tale of a strange young man named Alex (Carax’s onscreen alter ego, Denis Lavant) and his oddball adventures in search of love and truth. Dumped by Florence (Anna Baldaccini), he fakes his way into a party, where he finds Mireille (Mireille Perrier), a suicidal model who is intrigued by him. Carax, who would go on to make such well-received films as Mauvais Sang, Pola X, and Holy Motors, fills Boy Meets Girl with wonderful little touches, beautifully photographed in long takes by Jean-Yves Escoffier, from a repeating black-and-white clothing pattern and a battle with a pinball machine to a sudden burst of tap-dancing and a mysterious meeting along the Seine. Alex is a warped version of Jean-Pierre Léaud’s Antoine Doinel, but even though Alex as a lead character is no match for Truffaut’s seminal figure in the history of twentieth-century cinema, it’s still impossible to take your eyes off him as he continues to do and say a a whole lot of very weird and unpredictable things. Boy Meets Girl is screening on February 12 at Florence Gould Hall as part of the French Institute Alliance Française CinémaTuesdays series “When Boy Meets Girl: The Cinema of Leos Carax” and will be preceded by Merde, Carax’s contribution to the three-part omnibus Tokyo! (Michel Gondry, Leos Carax, and Bong Joon-ho, 2008), in which a wild-eyed CHUD-like (Cannibalistic Humanoid Underground Dweller) character (Lavant) emerges from below, wreaking havoc on the streets of Tokyo, speaking a bizarre language that only French magistrate Maitre Voland (Jean-François Balmer) can understand. The series continues on February 19 with Pola X, which stars Guillaume Depardieu, Yekaterina Golubeva, and Catherine Deneuve, and February 26 with Carax’s widely hailed latest film, Holy Motors, with the director on hand to participate in a Q&A with Richard Brody following the 7:00 show.

WORKING ON A SPECIAL DAY

Gabriel (Antonio Vega) and Antonietta (Ana Graham) discuss life, love, and fascism in WORKING ON A SPECIAL DAY (photo by Carol Rosegg)

59E59 Theaters
59 East 59th St. between Park & Madison Aves.
Tuesday – Sunday through February 17, $35
212-279-4200
www.59e59.org

It’s May 8, 1938, and there’s a parade making its way through the streets of Rome celebrating Adolf Hitler’s visit with Benito Mussolini as the Fascist leaders plot their takeover of Europe. A bored housewife, Antonietta (Ana Graham), is left alone by her husband and kids, cleaning the apartment and doing the laundry while everyone else heads out to the festivities. After her parrot flies out of its cage and out the window, Antonietta tracks it down in the apartment of a stranger, Gabriel (Antonio Vega), the only other person remaining in the complex. Unbeknownst to Antonietta, Gabriel was about to blow his brains out until she suddenly showed up. Soon the two lonely souls are sharing secrets and more in the offbeat yet engaging Working on a Special Day. The seventy-five-minute show was adapted and translated by Graham, Vega, and Danya Taymor from Ettore Scola’s Academy Award–nominated 1977 film, Una giornata particolare, which starred Sophia Loren as Antonietta, Marcello Mastroianni as Gabriele, and John Vernon as Antonietta’s husband (played onstage by Vega also). The intriguing drama takes place in small black box theater in which two of the walls and a pair of doorways are like chalkboards that Graham and Vega constantly draw on, creating windows, telephones, a birdcage, and more. They also make all the sound effects themselves. Thus, when Graham makes the sound of a telephone, Vega draws one on the wall and pretends to answer it. It’s an odd conceit that grows more endearing as the two characters spend more time together and get to know each other much better. Although it’s not interactive or participatory, it is warm and welcoming; when the two actors first appear, the house lights are on, and they change into their costumes using actual seats in the audience, as if crowd and performer are one and the same. A coproduction of the New York–based Play Company and Mexico City’s Por Piedad Teatro Foundation, Working on a Special Day has been extended at 59E59 through February 17.