this week in film and television

DON’T LOCK HIM AWAY: STAYING IN A WORLD WITH PETER ASHER

Peter Asher signs autographs with Gordon Waller, as seen in Peter Asher: Everywhere Man

PETER ASHER: EVERYWHERE MAN (Dayna Goldfine & Dan Geller, 2025)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
Opens Thursday, June 18
quadcinema.com
thefilmcollaborative.org

Peter Asher: Everywhere Man is so utterly engaging and delightful, so happy-making and surprising, that I actually wanted to crawl inside the screen and enter Peter Asher’s extraordinary life.

In Terry Gilliam’s 1988 film The Adventures of Baron Munchausen, John Neville stars as the title character, who tells a fanciful, impossible-to-believe story based on Rudolf Erich Raspe’s 1785 collection The Surprising Adventures of Baron Munchausen, consisting of heavily embellished tall tales loosely inspired by the real-life eighteenth-century German nobleman Hieronymus Karl Friedrich Freiherr von Münchhausen, whose name was given to the mental disorder Munchausen syndrome, a subtype of factitious illness in part characterized by, according to the National Library of Medicine, “pseudologia fantastica, a pattern of fabricating detailed falsehoods regarding personal history, education, and achievements.”

In the extraordinary documentary Peter Asher: Everywhere Man, the title figure tells his fanciful, impossible-to-believe story — but in this case, it’s all remarkably true, including that his father, endocrinologist Dr. Richard Asher, is credited with introducing the term “Munchausen syndrome.”

Born in England in 1944, Asher has lived a charmed, and charming, life. He and his sisters, Jane and Clare, three redheads, were child actors affectionately known as the Carrots of Wimpole Street. At Westminster School, he met Gordon Waller, a fellow guitarist, and they formed a duo, Peter and Gordon, who joined the British Invasion and scored a series of huge hits, anchored by “A World without Love,” written for them in 1964 by Jane’s boyfriend, Paul McCartney, who was living in the Asher home at the time. Other songs followed: “I Don’t Want to See You Again,” “Woman,” “I Go to Pieces,” and “Nobody I Know,” and they appeared on The Ed Sullivan Show. Asher’s mother, Margaret, was an oboist and professor who taught music to George Martin, the Beatles’ innovative producer.

Asher opened the highly influential Indica bookstore and gallery, where John Lennon met Yoko Ono. After serving as head of A&R for Apple Records, he became producer and then manager of a rising young folk singer named James Taylor, which led to him working with Linda Ronstadt, Carole King, and so many others (Diana Ross, Cher, Neil Diamond, Morrissey, Elton John, Rodrigo y Gabriela, 10,000 Maniacs, Robin Williams). He threw the party at which Mick Jagger and Marianne Faithfull fell in love, even though she was married to one of Asher’s Indica partners, John Dunbar. He put together backing bands with such musicians as King, bassist Leland Sklar, guitarists Danny “Kootch” Kortchmar and Waddy Wachtel, multi-instrumentalist Andrew Gold, and drummer Russ Kunkel, and he listed them on albums, something that previously was not done on pop records. And he did all of it with little or no training, just thriving on improvisation and experience.

“I think that Peter just got better and better at what he did,” Kortchmar says in the film. “Producing is a very broad term. Sometimes it means he’s a musical prodigy, and sometimes it means he’s a social worker or a therapist. And sometimes it means he or she just enables somebody who’s musically gifted to do their thing and get out of the way. And I think he probably can wear any of those hats.”

Directors and producers Dayna Goldfine and Dan Geller structure the documentary around Asher’s cabaret show, A Musical Memoir of the ’60s and Beyond, which they saw in December 2019 with Ronstadt. In the multimedia performance, Asher narrates his story and sings various songs with a band, along with projections of archival photos and videos. Editor Darren Lund intercuts new interviews with Monty Python veteran and The Adventures of Baron Munchausen costar Eric Idle, Steve Martin, Lyle Lovett, McCartney (voice), Twiggy, Kortchmar, Pattie Boyd, Paul Jones (Manfred Mann), Taylor and his sister Kate, Rolling Stone journalist Ben Fong-Torres, Indica cofounders Dunbar and Barry Miles, Natalie Merchant, and Asher’s longtime personal assistant, Chris O’Dell, among others, in addition to clips from a 2006 interview of Waller. They also follow Asher around London as he gives a tour to his daughter, Victoria.

Asher is generous with his time, although every now and then he prefers not to go into deep detail. When he is asked about drugs back in the 1960s and ’70s, he admits that he partook, although Ronstadt points out, “Cocaine was a lot of fun but it ruined everything.” Meanwhile, he had the unique ability to go where the action was, or create it himself.

Peter Asher relaxes in his office surrounded by many of his successes in an extraordinary career

Throughout it all, Asher, with his shock of bright red hair and dapper style, seems to have remained a warm, gentle, and caring individual who would do whatever it takes for his clients and friends, without seeking stardom for himself, at least since Peter & Gordon broke up in 1968. However, Wachtel states, “He’s a ham like the rest of us.”

“I suppose I do have this sort of generally optimistic view of what I set my hand to seems to work out okay, and I don’t think it’s necessarily to my credit at all,” he says humbly. “I think it could all just be a series of fortunate circumstances. But I’ve never really known what I was going to be doing next.”

Asher, a three-time Grammy winner and CBE (Commander of the British Empire), has touched so many people around the world over the last seven decades, whether they realize it or not, and it’s to his credit that he doesn’t get caught up in that, although he is clearly proud of his nearly endless accomplishments, as he should be. The film, to its credit, captures that beautifully. Asher was so often in the room where it happened, and is still happening, and Goldfine and Geller bring audiences into those very rooms.

Peter Asher: Everywhere Man opens June 18 at the Quad, with Goldfine and Geller (The Galapagos Affair: Satan Came to Eden, Hallelujah: Leonard Cohen, a Journey, a Song) participating in Q&As following the screenings on June 18 at 7:15 (moderated by Alan Light), June 19 at 7:00 (Dennis Elsas), June 20 at 7:00 (Joe Neumaier), and June 21 at 2:30 (Neumaier). You can find a Spotify playlist for the film here.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]

HOW DO YOU KEEP GOING? THE GAS STATION ATTENDANT AT DCTV FIREHOUSE CINEMA

The Gas Station Attendant tells the intimate story of a father and a daughter through hard times

THE GAS STATION ATTENDANT (Karla Murthy, 2025)
DCTV Firehouse Cinema
87 Lafayette St.
June 12-18
www.thegasstationattendant.com
www.dctvny.org

“The stories behind our smiling family are complicated and sometimes painful to tell,” Karla Murthy says in her new documentary, The Gas Station Attendant. “But isn’t everyone’s? It reminds me of the saying my cousin recently told me, while we were cooking, about all families having problems: ‘Everybody’s dosas have holes in them.’”

The Gas Station Attendant is a poignant, intimate tale of a family whose dosas have more than their share of holes. It’s about the immigrant experience and the search for the American dream, told by the daughter of a gentle man, H. N. Shantha Murthy, who spends his entire life trying to make things better for everyone around him despite meeting obstacles nearly every step of the way.

Murthy started recording her family on video when she was a little girl; later, as an adult, she began taping phone conversations with her father when he was forced to take a late-night job as a gas station attendant to pay the bills. During those talks, he shares details of the complicated, painful life he led, anchored by his deep love for his family.

He ran away from his home in India when he was ten, escaping horrific poverty, only to soon consider suicide. “I can still see myself as a boy,” he tells Karla. “I’m hiding here and there, not having food to eat for weeks. I used to sleep on the street, looking at the stars and moon, and always prayed: Someday, somehow, my life will change.” His life did change when, as a teen working at a hotel, he served a white couple from Texas who decided to sponsor him in America, paying for his education, and he became an engineer.

Following a mass layoff at Boeing, he struggled to earn a living, taking on a series of odd jobs, not wanting his family to experience any hardship. His first wife died too young, and he got remarried to a caring woman; both were Filipino, and he had two kids with each. Through it all, he grits his teeth and smiles, making friends wherever he goes — he and his second wife sold small gift items at trade shows around the country, something Karla sees for herself when she accompanies her father on one of those trips and he falls ill.

“Dad, how did you get up and keep going?” she thinks to herself.

The Emmy-nominated Murthy (The Place That Makes Us, Love, Jamie) wrote, directed, edited, and produced the eighty-three-minute film, incorporating archival footage, family photos and home movies, and numerous shots of empty gas stations, concerned for her father’s safety in what is a very dangerous job.

“And so here I am, reliving the past while trying to live in the present, wondering what it means to be a good father, a good daughter, a good mother,” Karla says.

Named Best Documentary Feature at the Nashville and San Diego Asian Film Festivals, The Gas Station Attendant will run June 12–18 at DCTV Firehouse Cinema, with Murthy participating in four postscreening Q&As: June 12 at 7:00 with writer Mira Jacob, June 13 at 6:00 with composer and podcaster Jad Abumrad, June 14 at 5:00 with New York Taxi Workers Alliance founder Bhairavi Desai, moderated by executive producer and Basement Bhangra founder DJ Rekha (who makes a cameo in the film), and June 18 at 6:30 with Economic Hardship Reporting Project executive director Alissa Quart.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]

GOOOOOAAAAAALLLLLLLL!!!!! THE ART OF SOCCER AT METROGRAPH

THE ART OF SOCCER
Metrograph
7 Ludlow St. between Canal & Hester Sts.
June 12 – July 5
metrograph.com

It may take a few days for World Cup fever to take over New York City, which is currently owned by the Knicks, but the international game of soccer is being celebrated just about everywhere you look. At Metrograph, “The Art of Soccer” consists of a half dozen fútbol classics, beginning June 12 with Wim Wenders’s 1972 The Goalie’s Anxiety at the Penalty Kick and continuing with a new restoration of José Antonio Garcia and Ícaro Martins’s once-banned 1983 Onda Nova, Jafar Panahi’s 2006 Offside, Alexandre Koberidze’s 2021 What Do We See When We Look at the Sky?, Abbas Kiarostami’s 1974 The Traveler, and Daniel Schmidt and Gabriel Abrantes’s 2018 Diamantino.

Giant fluffy puppies get in the way of a Portuguese soccer star’s dreams in Diamantino

DIAMANTINO (Daniel Schmidt & Gabriel Abrantes, 2018)
Metrograph
Dates to come
metrograph.com/art-of-soccer
www.kinolorber.com

At the fifty-sixth annual New York Film Festival in 2018, you could catch a documentary, foreign-language picture, political thriller, high-tech crime chiller, comedy, romantic melodrama, fantasy and sci-fi, and more — all in one wildly entertaining film. Diamantino, Gabriel Abrantes and Daniel Schmidt’s full-length feature debut, is an absurdist multigenre mashup that is as tense as it is funny, an unpredictable romp that evokes Ernst Lubitsch, Howard Hawks, Michel Gondry, Philip K. Dick, South Park, Cinderella, James Bond, Being There, Minority Report, and Au Hasard Balthazar while feeling wholly original. Carloto Cotta stars as the title character, Diamantino Matamouros, a Portuguese soccer star à la Cristiano Ronaldo (pre-sexual assault allegations) who sees giant fluffy puppies when he is on the field. After botching a penalty kick in the World Cup Final, the stupendously beautiful star learns that his beloved father and mentor (Chico Chapas) has died. His evil twin sisters, Sónia (Anabela Moreira) and Natasha (Margarida Moreira), become his agents and make a secret deal with the mysterious Dr. Lamborghini (Carla Maciel) and a government minister (Silva Joana). Meanwhile, investigators Aisha Brito (Cleo Tavares) and Lucia (Vargas Maria Leite) — lovers who are soon to be married — are looking into Diamantino’s finances and devise a plan to get close to him by having Aisha pose as a male refugee named Rahim who Diamantino adopts as his son.

Diamantino Matamouros (Carloto Cotta) is surrounded by images of himself in Gabriel Abrantes and Daniel Schmidt’s dazzling feature debut

Everyone except his sisters, who know better, thinks he is some kind of genius mastermind, but Diamantino is actually an addled simpleton who understands very little about life. He enjoyed playing soccer, likes eating Nutella and whipped cream sandwiches, and, following his tearful retirement, hangs out with his cat, Mittens, and dedicates himself to raising Rahim, who he does not realize is actually a grown woman. He’s reminiscent of Chance the Gardener (Peter Sellers) in Being There, but his airheaded statements — which are outrageously funny — are seldom mistaken for brilliance, except when he’s manipulated into making fascistic political statements he doesn’t understand. Winner of the Grand Jury Prize at Cannes Critics’ Week, Diamantino is stunningly photographed by Charles Ackley Anderson, who quickly adapts the film’s visual style as it switches from fantasy to love story to futuristic thriller, with numerous memorable shots, including Lucia in a white nun’s habit on a motorbike, Diamantino and Rahim sleeping on pillows with large images of the soccer star’s head, and a huge fluffy puppy playing goal in the championship game. American-born directors and longtime collaborators Abrantes and Schmidt, who edited the film with Raphaëlle Martin-Holger, show a deep love and respect for movies, infusing Diamantino with charm and energy, humor and compassion, honoring, in their own way, the history of cinema. The rest of the cast and crew do their part as well, from art director Bruno Duarte and composers Ulysse Klotz and Adriana Holtz to the Moreira sisters and multidisciplinary Portuguese star Manuela Moura Guedes as television interviewer Gisele.

A group of women risk their freedom to watch a soccer match in Jafar Panahi’s Offside

OFFSIDE (Jafar Panahi, 2006)
Metrograph
Dates to come
metrograph.com/art-of-soccer
www.sonyclassics.com

Filmed on location in and around Tehran’s Azadi Stadium and featuring a talented cast of nonprofessional actors, Jafar Panahi’s Offside is a brilliant look at gender disparity in modern-day Iran. Although it was illegal at the time for girls to go to soccer games in Iran — because, among other reasons, the government did not think it was appropriate for females to be in the company of screaming men who might be cursing and saying other nasty things (the regulations have been somewhat loosened recently) — many try to get in, facing arrest if they get caught. Offside is set during an actual match between Iran and Bahrain; a win will put Iran in the 2006 World Cup. High up in the stadium, a small group of girls, dressed in various types of disguises, have been captured and are cordoned off, guarded closely by some soldiers who would rather be watching the match themselves or back home tending to their sheep. The girls, who can hear the crowd noise, beg for one of the men to narrate the game for them.

Meanwhile, an old man is desperately trying to find his daughter to save her from some very real punishment that her brothers would dish out to her for shaming them by trying to get into the stadium. Despite its timely and poignant subject matter, Offside is a very funny film, with fine performances by Sima Mobarak Shahi, Shayesteh Irani, Ida Sadeghi, Golnaz Farmani, Mahnaz Zabihi, and Nazanin Sedighzadeh as the girls and M. Kheymeh Kabood as one of the soldiers. The film was selected for the 2006 New York Film Festival, but Panahi, who was supposed to attend the opening, experienced visa problems when trying to come to America and was later arrested by the Iranian government for his support of the opposition Green movement; he was sentenced to six years in prison and given a twenty-year ban on making new films, something he comments on ingeniously in This Is Not a Film.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]

HOT TIME: SUMMER FOR THE CITY AT LINCOLN CENTER

Lincoln Center’s Summer for the City features numerous events tied to the World Cup

SUMMER FOR THE CITY: TOGETHER, WE MOVE
Lincoln Center
June 10 – August 8, free or choose-what-you-pay
www.lincolncenter.org

The fifth iteration of Lincoln Center’s Summer for the City features art, film, music, comedy, workshops, discussions, meditation, silent discos, and more, but its focus is on dance — along with World Cup–related soccer programs.

Describing the series, which features an outdoor installation by Clint Ramos, Chief Artistic Director Shanta Thake explains, “Lincoln Center becomes a celebration of bodies in motion — dancing, gathering, and connecting people from all walks of life.” There are hundreds of events, with performers from around the globe.

All presentations are free or choose-what-you-pay, and some require advance RSVP; below are twi-ny’s don’t-miss highlights.

Reg Bloor will conduct her late husband Glenn Branca’s symphony for one hundred guitars at Lincoln Center on June 12 (photo by Maria Jose Govia)

Glenn Branca’s Symphony No. 13 (Hallucination City) for 100 Guitars
Wu Tsai Theater, David Geffen Hall
Friday, June 12, choose-what-you-pay, 7:30
www.lincolncenter.org

On June 13, 2001, avant-garde composer Glenn Branca premiered Symphony No. 13 (Hallucination City) for 100 Guitars on the plaza at the World Trade Center. Writing about the piece for Sound American, Reg Bloor, guitarist Reg Bloor, Branca’s wife, explained, “This is the first time Glenn had done anything like this with volunteers, so we had no idea if anyone was going to show up. I’ll never forget walking around the corner of the North Tower onto the World Trade Center Plaza for the first rehearsal and seeing people sitting there on their amps waiting for us. This was really going to work. . . . The piece was a swirling cauldron of consonance and dissonance, like a giant swarm of bees trapped in a cyclone, the single movement a long, gradual build of dynamics, pitch, and tempo to a crescendo bouncing off the towers and ringing through the plaza, spilling out onto the streets of Lower Manhattan. It’s a sound that stays with you for the rest of the day after the piece is over. You hear it coming out of the subway tunnel or in the air conditioning. You can’t get it out of your ear until whole world starts to sound like Glenn.” Bloor will conduct the symphony at David Geffen Hall on June 12 at 7:30, with one hundred guitarists along with drummer Greg Fox.

Juneteenth
Multiple locations
Friday, June 19
www.lincolncenter.org

Lincoln Center honors Juneteenth with three special performances that, unfortunately, overlap one another: Carl Hancock Rux’s Oh Sankofa at Hearst Plaza at 7:00, boasting a talented cast exploring the importance of folklore during the Transatlantic Slave Trade; Jeremy Nedd’s from rock to rock . . . aka how magnolia was taken for granite at Alice Tully Hall at 7:30, which looks at the Milly Rock; and Pulitzer Prize winner Suzan-Lori Parks’s The Tune Up at the David Rubenstein Atrium at 7:30, directed by the Flea’s Niegel Smith.

The music of Labelle is celebrated by original member Nona Hendryx at David Geffen Hall

Nightbirds, the Music of Labelle
Wu Tsai Theater, David Geffen Hall
Sunday, June 28, choose-what-you-pay, 7:30
www.lincolncenter.org

In 1974, Patti LaBelle, Nona Hendryx, and Sarah Dash, known as LaBelle, took the country by storm with the monster hit “Lady Marmalade.” The trio had been together in other forms since 1961, broke up in lurid circumstances in 1976, the re-formed from 2005 to 2009. On June 28, Dream Machine Studio is presenting “Nightbirds, the Music of Labelle” at David Geffen Hall, led by Hendryx, joined by the original Labelle backing trio of guitarist Eddie Martinez, bassist Carmine Rojas, and percussionist Jose Rossy, along with Tony winner Adrienne Warren, Kimberly Nichole, Ledisi, and Sandra St. Victor.

Shen Wei Dance Arts and Guangdong Modern Dance Company team up for site-specific MindScape on Hearst Plaza (photo by Gabe Palacio)

Shen Wei Dance Arts | Guangdong Modern Dance Company: MindScape
Hearst Plaza
July 1-3, free, 5:00
www.lincolncenter.org

Chinese-born, NYC-based choreographer, director, and painter Shen Wei brings together Shen Wei Dance Arts (SWDA) and Guangdong Modern Dance Company for MindScape, a forty-five-minute piece that incorporates poetry, calligraphy, painting, and movement on Hearst Plaza. SWDA has presented dazzling dances in the Park Ave. Armory Drill Hall, at the Prospect Park Bandshell, in the Met’s Charles Engelhard Court, and other unique locations, so it should be fascinating to see what they’ll be doing outdoors at Lincoln Center. MindScape is part of Lincoln Center’s Dance Encounters series, which also has performances by Omari Wiles / Les Ballet Afrik (New York Is Burning), Ogemdi Ude (Major), Anna Sperber (Bow Echo), Benjamin Akio Kimitch (Tiger Hands), and Vangeline (Naiad Metal), which takes place in and around the Milstein Reflecting Pool, as well as Chinese Arts Week, which also includes Chinese-born, NYC-based Pulitzer Prize winner Du Yun’s family-friendly The Ocean Etched in the Forest.

Akram Khan’s Thikra is part of Summer for the City at Lincoln Center

Akram Khan Company: Thikra: Night of Remembering
Alice Tully Hall, 1941 Broadway
Thursday, July 2, 7:30; Friday, July 3, 7:30; Sunday, July 5, 2:00, choose-what-you-pay
www.lincolncenter.org

English choreographer Akram Khan, who melds the Indian kathak form with contemporary dance, collaborates with visual director Manal AlDowayan on Thikra: Night of Remembering, a piece for between nine and eleven women set to “Gyura Beli Belo Platno” by the London Bulgarian Choir and “The Elephant’s Funeral” by Sushma Soma with Aditya Prakash. “As I stand humbled within the vastness of this epic desert known as AlUla, I feel the urge to unearth the many cultures that have passed through here,” Khan says about the work, which explores the ancient Saudi Arabia desert civilization. Thikra: Night of Remembering is part of the Lincoln Center Contemporary Dance Festival, which also features Jeremy Nedd, Yinka Esi Graves, Sung Im Her / Her Project, Rachid Ouramdane / Compagnie de Chaillot, and others.

Documentary reveals how Elizabeth Streb and her Extreme Action Company (including Jackie Carlson, seen here) take dance to a whole new level

Dance Encounters: Born to Fly: Elizabeth Streb vs. Gravity (Catherine Gund, 2014)
Hearst Plaza
Friday, July 10, free, 6:00
www.lincolncenter.org
www.borntoflymovie.com

For more than fifteen years, New Yorkers have gotten the chance to see Elizabeth Streb’s Extreme Action Company perform such dazzling works as Ascension at Gansevoort Plaza, Kiss the Air! at the Park Avenue Armory, and Human Fountain at World Financial Center Plaza as her team of gymnast-dancer-acrobats risk their physical well-being in daring feats of strength, stamina, durability, and grace. In addition, Streb herself walked down the outside wall of the Whitney as part of a tribute to one of her mentors, Trisha Brown. Catherine Gund takes viewers behind the scenes in the exhilarating documentary Born to Fly: Elizabeth Streb vs. Gravity, going deep into the mind of the endlessly inventive and adventurous extreme action architect and the courage and fearlessness of her company. Gund follows Streb as she discusses her childhood, her dance studies, the formation of STREB in 1985, and her carefully thought out views on space, line, and movement as her work stretches the limits of what the human body can do. “I think my original belief and desire is to see a human being fly,” Streb says near the beginning of the film, which includes archival footage of early performances, family photos, and a warm scene in which the Rochester-born Streb and her partner, Laura Flanders, host a dinner party in their apartment, cooking for Bill T. Jones, Bjorn Amelan, Anne Bogart, Catharine Stimpson, and A. M. Homes. Gund also speaks with current and past members of the talented, ever-enthusiastic company — associate artistic director Fabio Tavares, Sarah Callan, Jackie Carlson, Leonardo Giron, Felix Hess, Samantha Jakus, Cassandre Joseph, John Kasten, and Daniel Rysak — who talk about their dedication to Streb’s vision while using such words as “challenge,” “velocity,” “endurance,” “magic,” “invincibility,” and “risk” to describe what they do and how they feel about it. The film is screening on Hearst Plaza on July 10 at 6:00 as part of Lincoln Center’s Dance Encounters series, which also includes “Movement on Film: Athletic Shorts” July 15–17.

Double Dutch Fusion Freestyle & Open Jump
The Dance Floor, Josie Robertson Plaza
Thursday, July 16, free, 5:00
www.lincolncenter.org

One of the most exciting events of every summer at Lincoln Center is the National Double Dutch League strutting its stuff with breathtaking displays of athleticism. It’s three hours of exhilarating movement, including an open jump where visitors are encouraged to participate.

Five troupes come together for annual BAAND Festival (Francesca Levita by Rachel Neville, Christopher R. Wilson by Andrew Eccles, Fangqi Li by Karolina Kuras, Taylor Stanley by Paul Kolnik, DTH Company Artist Kamala Saara by Nir Arieli)

BAAND Together Dance Festival
David H. Koch Theater
Tuesday, July 28, through Sunday, August 1, choose-what-you-pay
www.lincolncenter.org

The sixth BAAND Together Dance Festival takes place July 28 thorugh August 1, with five exciting troupes performing in the David H. Koch Theater: Ballet Hispánico New York, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem. It doesn’t get much better than that. Each company will also host a family-friendly dance workshop every day.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]

ENCORE PRESENTATION — BILLY PRESTON: THAT’S THE WAY GOD PLANNED IT

The life and career of Billy Preston held many surprises revealed in documentary

BILLY PRESTON: THAT’S THE WAY GOD PLANNED IT (Paris Barclay, 2024)
Maysles Documentary Center
343 Lenox Ave./Malcolm X Blvd. between 127th & 128th Sts.
June 12, 7:00, June 13, 7:00, June 14, $15 (reduced price $7), 4:30
maysles.org
www.billyprestonfilm.com

“Will it go ’round in circles? / Will it fly high like a bird up in the sky?” Billy Preston sang in his 1973 smash hit. He might not have realized it then, but that line foretold his career, which had a seemingly endless series of ups until it all came crashing down.

The rise and fall of one of popular music’s most talented and beloved figures is intimately detailed in Paris Barclay’s revelatory documentary, Billy Preston: That’s the Way God Planned It.

Born in 1946 and raised in the church by his mother, gospel singer Robbie Lee Williams, Preston began playing the piano at age three, appeared on The Nat “King” Cole Show in 1957, accompanied Mahalia Jackson and Pearl Bailey on keyboards in the 1958 film St. Louis Blues, played with the gospel group the Cogics (Church of God in Christ), and as a teenager toured with Little Richard and the Rolling Stones. An enthusiastic man with an infectious gap-toothed smile and a collection of impressive wigs, Preston was soon recording with the Stones, Sam Cooke, Sly Stone, Ray Charles, and Aretha Franklin.

He singlehandedly rescued the Beatles when the Fab Four was preparing the Let It Be album and concert, just dropping by to say hello but then taking a seat at the organ and starting to improvise with John, Paul, George, and Ringo, infusing them with the energy they had been previous lacking as rumors swirled that the band was breaking up. The tabloids nicknamed him the Fifth Beatle and the Black Beatle. “He never put his hands in the wrong place,” Starr says in the film.

Preston might have been the ultimate sideman, but when performing he couldn’t help himself, often getting up and dancing wildly, joy emanating out of every pore. He couldn’t read music and never used charts but just felt the music blaze through him, even when playing backup. “He would steal the record without you even knowing until later, and you’d go, ‘He’s done it again,’” Eric Clapton explains.

When Preston brought an original song to George Harrison for a potential solo LP, the Quiet Beatle quickly assembled an all-star roster to back him up: Harrison, Clapton, Keith Richards, and Ginger Baker.

In the 1970s, he hit the charts with such songs as “Outa-Space,” “Will It Go Round in Circles,” “Nothing from Nothing,” and “With You I’m Born Again,” all of which are featured prominently in the film. He was a musical guest on the very first episode of Saturday Night Live. Most people don’t realize that Preston wrote and originally recorded “You Are So Beautiful,” made famous by Joe Cocker; one of the highlights of the documentary is Preston’s performance of the song at the Apollo 50 celebration, joined by Cocker and Patti LaBelle on vocals. We also learn that it is a love song — to his mother, who he also plays it with in the film.

But his life started falling apart as he got lost in a haze of drugs and alcohol (Courvoisier, coke, eventually crack), starred as Sgt. Pepper in the ill-fated movie Sgt. Pepper’s Lonely Hearts Club Band, and continued to hide his sexuality, even though his friends, family, and musical colleagues knew he was gay going back to his youth. He was often seen with young men he referred to as cousins, but he was overcome with loneliness.

In their debut documentary, three-time Emmy winner Barclay (NYPD Blue, Glee) and cowriter Cheo Hodari Coker (Ray Donovan, Luke Cage) also delve into the sexual abuse Preston suffered as a child, which added to his problems as an adult. In the 1990s, he was arrested for DUI, charged with assault and child molestation, and spent time in prison, but he kept on playing music until his death in 2006 at the age of fifty-nine.

“He couldn’t move on,” soul and gospel singer Merry Clayton says. “No one knew what had transpired but us, the inner circle, family people. He’d have that smile, but his heart would be broken.”

Producer Suzanne de Passe notes, “Billy Preston was a gifted, genius, wonderful, talented human being, and he had a very, very self-destructed aspect to who he was. I wish I could have been more of a help in the parts that weren’t any of my business.”

Similarly, engineer Bob Margouleff says wistfully, “I don’t think anyone, including me, knew how to help him.”

The film has a bevy of revelatory archival material, from photographs and home movies to rare clips of Preston from childhood through his entire career, including key segments from a 2004 live appearance. Barclay also speaks with Billy Porter, producer Tony Jones, recording artists Gloria Jones and Blinky Williams, Pastor Sandra Crouch, musician Cory Henry, A&M publicist Don Mizell, biographer David Ritz, Preston’s cowriter Bruce Fisher, his nephew Derrick Preston, his managers Bob Ellis and Joyce McRae Moore, and numerous members of his bands, who all share poignant stories of Preston as a performer and a human being, a man bursting with life but hiding so much inside.

“I just want to be free, to play the music that God’s given to me,” Preston says.

It’s a tragic, if not unfamiliar, story, in this case happening to a cherished person who could not conquer his demons. But as he sang in his first big hit: “Let not your heart be troubled / Let mourning sobbing cease / Learn to help one another / And live in perfect peace.”

If you missed the theatrical release of Billy Preston: That’s the Way God Planned It earlier this year at Film Forum, you can catch it at Maysles Documentary Center from June 12 to 14.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]

PROFOUND ABSENCE: SHTTL KICKS OFF REEL JUDAISM SERIES

Two men are at odds over religion and love in Ady Walter’s Shttl

SHTTL (Ady Walter, 2022)
Temple Israel
112 East Seventy-Fifth St. between Park & Lexington Aves.
Tuesday, June 2, free, 7:00
Series runs select Tuesday nights through August 11
tinyc.org
www.menemshafilms.com

On the eve of Operation Barbarossa, the German invasion of the Soviet Union in June 1941, a small Yiddish-speaking village on the Polish border teeters on the edge as the citizens debate war, collaboration, religion, women’s roles in society, and true love. In the tense, gripping Shttl, Ady Walter pulls off quite an impressive directorial debut, shooting the 110-minute film in one continuous take, shifting between black-and-white and color as the narrative unfolds: Mendele (Moshe Lobel) joins the military, promising to come back for Yuna (Anisia Stasevich), but while he is gone she is wooed/harassed by the mean-spirited Folie (Antoine Millet), whose father (Saul Rubinek) is the community’s spiritual leader. The strange spelling of the title is an homage to Georges Perec’s 1969 novel, La Disparition (A Void), which never uses the fifth letter of the alphabet, its loss a symbol of profound absence. (Both of French novelist Perec’s parents were killed during the Holocaust, his father on the field of battle, his mother in Auschwitz.) The village, or shtetl, was built for the film and was going to be turned into a Jewish-Ukrainian museum until Russia invaded Ukraine.

Shttl is screening June 2 at 7:00 at Temple Israel on the Upper East Side, kicking off the synagogue’s free summer Reel Judaism festival, and will be followed by a Q&A with New Yiddish Rep veteran Lobel, moderated by Rabbi David Gelfand. The series continues select Tuesday nights through August 11 with such other films as Katharina Otto-Bernstein’s 2025 The Last Spy, Sandi DuBowski’s 2025 Sabbath Queen, and Daniel Am Rosenberg’s 2023 Less Than Kosher, all followed by discussions.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]

AUDITIONING SCHEHERAZADE: 1001 FRAMES AT BROOKLYN FILM FEST

Mehrnoush Alia’s 1001 Frames makes its NYC premiere at the Brooklyn Film Festival

1001 FRAMES (Mehrnoush Alia, 2025)
Brooklyn Film Festival
Sunday, May 31, Wythe Hotel, 80 Wythe Ave., Williamsburg, $25, 4:00
Monday, June 1, BRIC, 647 Fulton St., $28.37, 4:00
Festival runs May 29 – June 7
www.brooklynfilmfestival.org
www.loco-films.com

In the Middle Eastern fairy-tale collection One Thousand and One Nights, also known as The Arabian Nights, a woman named Scheherazade marries an evil king and tells him a different bedtime story every evening in order to stay alive. Brooklyn-based Iranian-American filmmaker Mehrnoush Alia uses that as her jumping-off point in her chilling feature debut, 1001 Frames, making its New York premiere at the Brooklyn Film Festival on May 31 and June 1.

Expanded from her 2015 short Scheherazade, the intense 1001 Frames brilliantly blurs the lines between fiction and reality, photographed by Hamed Hosseini Sangari in a cinéma vérité style. The film is set in a vast, empty warehouse studio where a famous Iranian director (Mohammad Aghebati) is holding auditions for the role of Scheherazade in his new horror film. Over the course of one day, he meets with more than a dozen women, ostensibly to audition them, but it becomes clear early on that something else is going on.

In the first shot, a woman is on the floor on all fours, grunting like an animal until she rolls over and lays still. Writer, director, editor, and producer Alia then cuts to a series of interviews as the unseen director asks the women ever-more-invasive questions. The actresses sit in a plain wooden folding chair, trying to balance confidence with their growing sense of discomfort as the director asserts his power and control over them in both subtle and overt ways, mirroring the treatment of women not only in the film industry but in the world as a whole.

“Tell me. It stays right here between us. It’s only you and the camera here,” he says to one auditioner, as if his presence is not central to their relationship.

Alia switches between a stationary camera focused on the woman in full and in closeup and a handheld camera as the director physically approaches them, often in a threatening manner. The effect forces the viewer to be the perpetrator, to be the one with the male gaze, a phrase coined by Laura Mulvey, who wrote in Visual and Other Pleasures, “Woman, then, stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of a woman still tied to her place as the bearer of meaning, not maker of meaning.”

As the interactions become more personal and intimate, some of the women squirm, some consider leaving, while others start challenging the director.

“You think you can edit everything, even your life!” his ex-wife, Firoozeh (Iranian multidisciplinary artist Mahin Sadri), boldly argues. A model states, “I’m not supposed to do whatever I’m told.” Another actress, looking frightened, says, “I’m afraid of that moment that you cross a line that things become ok that shouldn’t be.”

Meanwhile, the director refuses to back down, asking one auditioner about the role, “What are you willing to do to get it?” He scolds another, “This is my workplace. You can’t show up and say whatever you want.”

The dynamic of men’s insistent domination over women, in all areas of life, turns 1001 Frames into its own horror film, going beyond the mere psychological as the ending approaches.

“Are you scared of me?” the director asks one actress, who answers, “Do you want me to be scared?”

Previously known as Mehrnoush Aliaghaei, Alia based many of the incidents in 1001 Frames on real stories; she also worked closely with the actresses in developing their characters, allowing improvisation and giving the full script to only some of the women, depending on their preference. The result is a terrifying finale that morphs into a spectacularly effective coda.

The ensemble cast is remarkable, representing a wide range of ages and experience, each worthy of note: Sadri, Leili Rashidi, Mahsa Rezaei, Behafarid Ghaffarian, Fereshteh Aliyari, Maryam Arabzadeh, Aisan Ghanbari, Parastoo Ghorbani, Mahdieh Mohammadi, Dorsa Panjehband, Shayesteh Sajadi, Fatemeh Salehian, Helia Shadifar, and Avin Taffakori. They spend most of the film sitting in the chair, the camera zooming in on their face, capturing their changing, conflicted emotions as they reach difficult realizations and have impossible decisions to make. Aghebati, who is also the casting director and one of the film’s producers, is menacing as the director, his face never seen, as if he could be any man; he is a persuasive and controlling figure who completely understands his power and flaunts it, and perhaps not only to find the right actress for the part.

The most potent film about auditions since Takashi Miike’s 1999 ultraviolent cult classic Ôdishon, in which two men hold a fake audition in order to find a romantic partner for one of them, a tryout that doesn’t go particularly well, 1001 Nights is a haunting tale of all-too-real psychological horror, a beautifully rendered parable about misogyny with an unforgettable conclusion.

The eighteenth-century version of One Thousand and One Nights consists of such beloved, familiar tales as “Aladdin and the Wonderful Lamp,” “Ali Baba and the Forty Thieves,” and “The Seven Voyages of Sinbad the Sailor.” 1001 Frames is never so benign but all too familiar and scary, a story that Scheherazade has to keep on telling, over and over again, one frame at a time.

The May 31 and June 1 screenings will be followed by a Q&A with Alia and Aghebati. The Brooklyn Film Festival runs May 29 to June 7 at multiple venues and online; among the other films to watch out for are Walter Thompson-Hernández’s If I Go Will They Miss Me, Carlye Rubin, Katie Green, and Tina Grapenthin’s Blood & Guts, and Thales Banzai’s Tony Odyssey.

[ Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]