this week in film and television

NEW YEAR’S RESOLUTION 2025: GO TO MORE JANUARY PERFORMANCE FESTIVALS

Japan Society Under the Radar presentation of Duke Bluebeard’s Castle is one of dozens of experimental works in January performance festivals (photo by Yoji Ishizawa)

Every January, many of us begin the new year with resolutions to make positive changes in our lives; I find the best way to start that is by checking out the latest in cutting-edge and experimental theater, music, dance, opera, film, and other forms of entertainment. Performance festivals abound this month, at tiny venues you’ve never heard of, places you’ve always wanted to go to but haven’t yet, and well-known spaces you haven’t been to in years.

You now have the chance to fill those voids at such festivals as Under the Radar, Prototype, Exponential, Out-Front!, Live Artery, Winter Jazzfest, and more, none of them costing nearly as much as a Broadway show. Below are only some of the highlights of this exhilarating time to try something that might be outside your comfort zone — or right up your alley.

New Ear Festival runs January 3-5 at Fridman Gallery on Lower East Side

NEW EAR FESTIVAL
Fridman Gallery
169 Bowery
January 3-5, $20-$30, Festival Pass $50-$70
new-ear.org

“Focused on fostering experimentation in time-based media and interdisciplinary collaboration in New York City and beyond,” Fridman Gallery’s New Ear Festival, which began in 2013, is back with a stellar lineup of musicians and installations, including Henry Threadgill, Ash Fure, and Kyp Malone.

Friday, January 3
Main Room: Henry Threadgill, Justin Cabrillos, relatively special theories of spAcial relativities, medium (Yaz Lancaster & GG200BPM); 8-Channel Audio: New Ear Spatial: Echoes; 4-Channel Video: “Landscape of the Medium” by Marleigh Belsley, 7:30

Saturday, January 4
Main Room: Members of Irreversible Entanglements, Shara Lunon, Kamari Carter & Gladstone Deluxe; 8-Channel Audio: New Ear Spatial: Echoes; 4-Channel Video: \[ the hurricanes in your mouth \] by Johann Diedrick, 7:30

Sunday, January 5
Main Room: Ash Fure, Brian Chase, Kyp Malone, Brian House & Sue Huang (feat. Robert Black); 8-Channel Audio: New Ear Spatial: Echoes; 4-Channel Video: Ash Fure, Studies for the Coming Heat, 7:30

The Brooklyn Exponential Festival is a treat for curious theatergoers

THE EXPONENTIAL FESTIVAL
Multiple venues
January 2 – February 2
www.theexponentialfestival.org

Brooklyn’s month-long Exponential Festival consists of nineteen shows in such venues as the Loading Dock, the Brick, and JACK, highlighting pieces by “participants [who] are committed to ecstatic creativity in the face of commercialism. Exponential is driven by inclusiveness and a diversity of artists, forms, and ideas coupled with utopian resource-sharing, mentoring, and the championing of risky, rigorous work in eclectic fields.”

Friday, January 3
through
Sunday January 5

​​haircut play :€, by Eulàlia Comas, Loading Dock, 170 Tillary St., $28.52

Thursday, January 9
through
Sunday, January 12

Neck Down, f.k.a. Rainbow’s End, by Nic Adams, We Are Here Brooklyn Studios, 563 Johnson Ave., $12.51-$49.87

Friday, January 10
through
Friday, January 17

MEOW!, by Matthew Antoci & Meaghan Robichaud, Loading Dock, 170 Tillary St., $28.52

Wednesday, January 15
through
Saturday, January 18

Sapphire, by Ella Lee Davidson, the Brick, 579 Metropolitan Ave., $25-$55

Friday, January 17, 7:30
and
Saturday, January 18, 3:00 & 7:30

Braiding Water, by Xiaoyue Zhang, JACK, 20 Putnam Ave., $25-$50

Thursday, January 23
through
Saturday, January 25

Happy Birthday, Curiosity Rover!, by Laura Galindo, Brick Aux, 628 Metropolitan Ave.,

Friday, January 24, 7:30
and
Saturday, January 25, 3:00 & 7:30

Tongues by Yibin Wang and Yejia Sun JACK, 20 Putnam Ave., $25-$50

UNDER THE RADAR
Multiple venues
January 4-19, free – $120
utrfest.org

Under the Radar is the glittering gem of performance festivals, two weeks of unique, unpredictable, and fascinating works, many hard to define but need to be seen. Founding director Mark Russell brought it to New York City in 2005, teamed up with the Public Theater’s Oskar Eustis in 2006, and has been presenting intriguing and exciting pieces from around the world ever since. The 2025 UTR, celebrating its twentieth anniversary, takes adventurous theatergoers on a thrilling ride, introducing audiences to high-tech generative AI (the four-part interactive and immersive TECHNE at BAM), a time loop in a small white closet (The 7th Voyage of Egon Tichy at New York Theatre Workshop’s Fourth Street Theatre), a political prisoner in Tehran being visited by her husband (Blind Runner at St. Ann’s Warehouse), actual Russian refugee children who live in US shelters and their American peers (SpaceBridge at La Mama), a pair of skeletons digging for bones in the underworld (Dead as a Dodo at the Baruch Performing Arts Center), a reimagining of a popular musical (Show/Boat: A River at NYU Skirball), a Harajuku makeover of a classic French fairy tale (Duke Bluebeard’s Castle at Japan Society), a pair of rice cookers delving into the last twenty years of Korean history (Cuckoo at PAC NYC), and a marathon funeral for a company’s longtime home (Soho Rep Is Not a Building. Soho Rep Had a Building… at walkerspace). Below are only some of the highlights.

Saturday, January 4
through
Tuesday, January 7

TECHNE: The Vivid Unknown, by John Fitzgerald and Godfrey Reggio, BAM Fisher, Fishman Space, $10

Saturday, January 4
through
Thursday, January 24

Blind Runner, by Amir Reza Koohestani and Mehr Theatre Group, St. Ann’s Warehouse, 45 Water St., $44-$54

Saturday, January 4
through
Sunday, January 26

The 7th Voyage of Egon Tichy [Redux], by Sinking Ship and Theater in Quarantine, New York Theatre Workshop’s Fourth Street Theatre, 83 East Fourth St., $30-$50

Tuesday, January 7
through
Friday, January 11

TECHNE: The Golden Key, by Marc Da Costa and Matthew Niederhauser, BAM Fisher, Fishman Space, $10

Tuesday, January 7
through
Saturday, January 11

SpaceBridge, by Irina Kruzhilina, La MaMa, Ellen Stewart Theatre, 66 East Fourth St., $10-$30

Wednesday, January 8
through
Sunday, February 9

Dead as a Dodo, by Wakka Wakka, Baruch Performing Arts Center, 55 Lexington Ave., $40-$55

A space traveler is trapped in a time loop in The 7th Voyage of Egon Tichy [Redux] (photo by Josh Luxenberg / Sinking Ship / Theater in Quarantine)

Wednesday, January 9
through
Sunday, January 26

Show/Boat: A River, by Target Margin Theater, NYU Skirball Center for the Performing Arts, 566 LaGuardia Pl., $60-$120

Sunday, January 12
through
Wednesday, January 15

TECHNE: Voices, by Margarita Athanasiou, BAM Fisher, Fishman Space, $10

Wednesday, January 15
through
Saturday, January 18

Duke Bluebeard’s Castle, by Shuji Terayama, Japan Society, 333 East Forty-Seventh St., $36-$48, 7:30

Thursday, January 16
through
Saturday, January 18

Cuckoo, by Jaha Koo, Perelman Performing Arts Center, 251 Fulton St., $58-$68

Thursday, January 16
through
Sunday, January 19

TECHNE: Secret Garden, by Stephanie Dinkins, BAM Fisher, Fishman Space, $10

Saturday, January 18
Soho Rep Is Not a Building. Soho Rep Had a Building…, Walkerspace, 46 Walker St., free, 10:00 am – 10:00 pm

Angie Pittman will present Black Life Chord Changes at Out-FRONT! Festival (photo by Brian Rogers)

OUT-FRONT! FESTIVAL
Judson Church, 55 Washington Square South
BAM Fisher Hillman Studio, 321 Ashland Pl.
January 7-13, free with advance RSVP (suggested donation $25)
pioneersgoeast.org

The third edition of Pioneers Go East Collective’s Out-FRONT! Festival features presentations from such choreographers and dance companies as jill sigman/thinkdance, Angie Pittman, and Kyle Marshall Choreography at Judson Church and the BAM Fisher Hillman Studio in addition to an evening of films. “As a grassroots artist-driven collective, we create a high-visibility platform for dance and interdisciplinary artists whose rigorous, playful, and fabulously outrageous creative practices speak to our community in unexpected and beautiful ways,” artistic director Gian Marco Riccardo Lo Forte said in a statement. “We engage known and lesser-known artists to shape a joyful space to celebrate queer art and stories of vulnerability and inclusion.”

Tuesday, January 7
and
Friday, January 10

Miranda Brown + Noa Rui-Piin Weiss: !!simon says~~!:));)$$, and Nattie Trogdon + Hollis Bartlett: Vessels, Judson Church, 7:00

Wednesday, January 8
and
Thursday, January 9

jill sigman/thinkdance: Re-Seeding (Encounter #4), Judson Church, 7:00

Friday, January 10, 8:30
and
Monday, January 13, 7:00

Blaze Ferrer: Dick Biter and Stuart B Meyers: thegarden, Judson Church

Saturday, January 11
Out-FRONT! Film Series: dance and experimental short films by Dominique Castelano, Jueun Kang, Kathleen Kelly, Haley Morgan Miller, Pioneers Go East Collective, and Maamoun Tobbo, Judson Church, 3:00

Angie Pittman: Black Life Chord Changes and Kyle Marshall Choreography: Joan, BAM Fisher Hillman Studio, 7:00

zoe | juniper will present latest work as part of new York Live Arts festival (photo by Anton Karaa)

LIVE ARTERY
New York Live Arts (unless otherwise noted)
219 West 19th St.
January 8-18, $28-$40
newyorklivearts.org

New York Live Arts’ annual Live Artery showcases works by emerging and established choreographers; this year’s impressive lineup includes Ogemdi Ude, zoe | juniper, Joseph Keckler, Leslie Cuyjet, Miguel Gutierrez, and, if you are lucky enough to get an invite, Shamel Pitts, A.I.M by Kyle Abraham, and Bill T. Jones/Arnie Zane Company.

Wednesday, January 8
through
Saturday, January 11

My Body, My Archive, by Faustin Linyekula

Friday, January 10
through
Monday, January 13

The Marthaodyssey, by Jesse Factor

Saturday, January 11
Major, by Ogemdi Ude, 3:00

time/life/beauty, by Michael Sakamoto and Paul Miller aka DJ Spooky, $15, 6:00

Saturday, January 11
and
Sunday, January 12

For All Your Life, by Leslie Cuyjet, CPR — Center for Performance Research, 361 Manhattan Ave., $25

Sunday, January 12
Artist Salon, with Janani Balasubramanian, Gabriela Carneiro da Cunha, Kayla Farrish, Heather Kravas, and Tere O’Connor, free with advance RSVP, 11:00 am

The Missing Fruit (Part I), by Roderick George — kNonAme Artist, $15, 1:00

UNTITLED, by zoe | juniper, with Xiu Xiu, $15, 6:00

Sunday, January 12
through
Saturday, January 18

Super Nothing, by Miguel Gutierrez

Monday, January 13
Turn. Turning.TURNT, by Cynthia Oliver/COCo Dance Theatre, 6:00

A Good Night in the Trauma Garden, by Joseph Keckler, 8:00

SFX FESTIVAL
the wild project
95 East Third St.
January 9-11, $23.33
thewildproject.org

The seventh iteration of the Special Effects Festival (SFX), founded by Caden Manson and Jemma Nelson, takes place January 9-11 at the wild project with three evenings of new works “to rekindle the spirit of the avant-garde and create a shared space to gather for contemporary performance.”

Thursday, January 9
Illuminated Skies: A Night of Puppetry, with Cumulo by Emily Batsford, an excerpt from Shiny One by Jon Riddleberger, Cast from Heaven by Jacob Graham, and Where Did You Go, Connie? by Amanda Card, curated by Amanda Card, 7:00

Friday, January 10
Works by Wonderful Cringe (Nicholas Sanchez), Harlequin (Adonis Huff & Jelani Best), and Lele Dai, curated by Kyla Gordon, 7:00

Saturday, January 11
Gray Spaces, with Idiot Void (working title) by David Commander, double column by Marissa Joyce Stamps, and 5G Maitreya by Glenn Potter-Takata, curated by Lisa Clair, 7:00

WINTER JAZZFEST
Multiple venues
January 9-15
www.winterjazzfest.com

Founded in 2005, “Winter Jazzfest celebrates the music as a living entity, wherein history collides with the future in every note. Creative improvisation in the digital age continues to stimulate thought and emotion of its listeners, embracing innovation, defying instrumental boundaries and the old cliches of ‘What is Jazz?’” Among this year’s highlights are poet, writer, lyricist, and activist aja monet, pianist and composer Vijay Iyer, Sun Ra Arkestra, and two days of marathons at such venues as Le Poisson Rouge, Nublu, Mercury Lounge, Baby’s All Right, and the Bitter End.

Thursday, January 9
aja monet, Faye Victor, Sophye Soliveau, LPR, 158 Bleecker St., $45.42, 6:30

Makaya McCraven, Theon Cross, Ben Lamar Gay, Nublu, 151 Ave. C., $40, 11:00

Friday, January 10
Manhattan Marathon, multiple venues, including Endea Owens at LPR, Jenny Scheinman’s All Species Parade at City Winery, Vijay Iyer & Wadada Leo Smith at Performance Space NY, the Christian McBride Band at Mercury Lounge, and Sophye Soliveau at the Bitter End, $85

Saturday, January 11
Brooklyn Marathon, multiple venues, including Sun Ra Arkestra at Brooklyn Bowl, Vijay Iyer Trio +1 Featuring Adam O’Farrill at National Sawdust, Peter Apfelbaum’s New York Hieroglyphics at Loove Labs Annex, Matthew Shipp Trio at Loove Labs, Lion Babe at Baby’s All Right, and Ken Butler’s Curious Cave of Anxious Objects at Hybrid Visions, $85

Sunday, January 12
Impressions: Improvisatory interpretations on A Love Supreme, featuring the Ravi Coltrane Quartet with David Virelles, Jeff “Tain” Watts, and Dezron Douglas, with guests Allison Miller, Angelica Sanchez, Ben Williams, James Brandon Lewis, Joel Ross, Kalia Vandever, Kassa Overall, Kenny Warren, Linda May Han Oh, Mali Obomsawin, Melissa Aldana, Nasheet Waits, Orrin Evans, Rafiq Bhatia, Sam Newsome, Theon Cross, Tomoki Sanders, and more, Roulette, 509 Atlantic Ave., $63, panel 6:30, show 8:00

Monday, January 13
Strata-East Rising, A Landmark Concert with Charles Tolliver, Cecil McBee, Billy Hart, Billy Harper, Christian McBride, aja monet, Endea Owens, Steve Jordan, Keyon Harrold, Camille Thurman, and more, Le Poisson Rouge, 158 Bleecker St., $57.47-$105.06, 7:00 & 9:30

PROTOTYPE
Multiple venues
January 9–19
www.prototypefestival.org

Cofounding directors Kristin Marting and Beth Morrison have put together another outstanding group of shows for Prototype, which “is committed to surprising our audiences and confounding their expectations through content, form, and relevance.” This year they will be accomplishing that with eight presentations, including an art bath, concerts, a streaming hip-hopera, and five works at HERE, La MaMa, and the Village East. Watch out for Eat the Document, based on the novel by Dana Spiotta, exploring activists from the 1970s underground to 1990s suburbia, and Black Lodge, inspired by the lives and careers of William S. Burroughs, David Lynch, and Antonin Artaud.

Thursday, January 9
through
Friday, January 17

Eat the Document, alternative opera by composer John Glover and librettist Kelley Rourke, directed by Kristin Marting, HERE Arts Center, 145 Sixth Ave., $35-$150

Thursday, January 9
through
Sunday, January 19

TELEKINETIK, a Catapult Opera production by Khary Laurent, directed by George Cederquist, available on demand, free

Saturday, January 11
through
Tuesday, January 14

Positive Vibration Nation, rock guaguanco opera by Sol Ruiz, with Rey Rogriguez, Alejandro Sierra, Fernando Sanchez Abad, Margarita Arranz, Adonnas Jones, and Shira Abergel, HERE Arts Center, 145 Sixth Ave., $35-$150

Saturday, January 11
through
Wednesday, January 15

Black Lodge, goth industrial rock opera by composer David T. Little, librettist Anne Waldman, starring Timur and the Dime Museum and Isaura String Quartet, film by Michael Joseph McQuilken, BRIC Arts Media, 647 Fulton St., Brooklyn, $40.25-$155.25

Thursday, January 16
through
Sunday, January 19

In a Grove, chamber opera by composer Christopher Cerrone and librettist Stephanie Fleischmann, directed by Mary Birnbaum, and starring Metropolis Ensemble, La MaMa Experimental Theatre Club, Ellen Stewart Theater, 66 East Fourth St., $35-$75

PhysFestNYC
Stella Adler Center for the Arts
65 Broadway
January 9-19, $20
www.physfestnyc.org

PhysFestNYC was started last year as “a community-focused festival that celebrates, enriches, and envisions our field of physical theater . . . [which] tends to be experimental, innovative, and genre-breaking.” The second annual event, taking place January 9–19 at the Stella Adler Center for the Arts, consists of workshops, panel discussions, masterclasses, and live performances. Below are some of the highlights.

Tuesday, January 14
The Fluxus Brothers Present: Good Art Bad Art, performance art lecture demonstration with Ben Rosenthal, Morgan Rosenthal, and Morgan Fitzpatrick Andrews, $20, 7:00 & 8:30

Thursday, January 16
Pat Frisk/Duck, with Joanne Edelmann, and Stop, Replay, with Abhirami Rao, $20, 1:00

Friday, January 17
and
Saturday, January 18

Broken Box Mime Theater, $20, 7:00 & 8:30

The Triple Empathy Problem, with Noah Ortega and Asa Page, Here Is Siya, with Joey Antonio, and Do You Still Believe?, with Noel Olson, $20, 7:00 & 8:30

Saturday, January 18
It Goes Without Saying, created and performed by Bill Bowers, 20, 4:00

Saturday, January 18
and
Sunday, January 19

Please Ship This Wet Gift, with Marta Mozelle MacRostie, followed by a panel discussion, $20, 1:00

THE FIRE THIS TIME FESTIVAL
FRIGID New York at the wild project
195 East Third St.
January 23 – February 2, $25
www.firethistimefestival.com

Founded in 2009 by Kelley Nicole Girod, the Fire This Time Festival, now in its sixteenth year, “provides a platform for early career playwrights of African and African American descent.” The 2024 iteration comprises six ten-minute shows at the wild project, presented by FRIGID New York, that take on such topics as Billie Holiday, queer identity, the search for a missing sibling, and an unusual night for Hagar and Abraham.

Thursday, January 23
Friday, January 24, 31
Saturday, January 25
Saturday, February 1
Sunday, February 2

Pound Cake, by Brittany Fisher; OUT, by FELISPEAKS; Just One Good Day, by Jeanette W. Hill; But Not Forgotten, by D. L. Patrick; Security Watch, by TyLie Shider; and Immanentize the Eschaton, by Garrett Turner

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

THE ULTIMATE CONTENDER: MARLON BRANDO AT ONE HUNDRED

Film Forum series pays tribute to Marlon Brando centennial with such films as On the Waterfront

BRANDO 100
Film Forum
209 West Houston St.
December 13-26
212-727-8110
filmforum.org

Born in Omaha, Nebraska, in April 1924 to a traveling salesman father and theater actress mother, Marlon Brando Jr. went on to become one of the greatest actors of all time — and the most-quoted screen star in cinema history.

“The horror. The horror.” —Marlon Brando as Col. Walter Kurtz, Apocalypse Now (Francis Ford Coppola, 1979)

Film Forum is paying tribute to the eight-time Oscar nominee and two-time winner with “Brando at 100,” a two-week festival honoring the centennial of his birth, consisting of twenty-one of his films and one documentary.

“What’re you rebelling against, Johnny?” — Mildred (Peggy Maley) “Whaddya got.” —Marlon Brando as Johnny Strabler, The Wild One (László Benedek, 1953)

The series opens December 13 with five favorites, Julius Caesar, The Men, A Streetcar Named Desire, On the Waterfront, and The Wild One, and continues through December 26 with such other highlights as The Godfather, The Freshman, Last Tango in Paris, The Missouri Breaks, and Viva Zapata!

“Hey, Stella!” —Marlon Brando as Stanley Kowalski in A Streetcar Named Desire (Elia Kazan, 1951)

Author and film historian Foster Hirsch (A Method to Their Madness: The History of the Actors Studio, Hollywood and the Movies of the Fifties) will introduce the 7:10 screening of On the Waterfront on December 13 and the 1:00 screening of Reflections in a Golden Eye on December 26.

Marlon Brando sings (!) in Joseph L. Mankiewicz’s 1955 Guys and Dolls

“I’m gonna make him an offer he can’t refuse.” —Marlon Brando as Don Vito Corleone in The Godfather (Francis Ford Coppola, 1972)

On December 16 at 8:00, Film Forum will pair Fred Zinnemann’s 1950 The Men with Albert and David Maysles’s half-hour 1966 documentary Meet Marlon Brando.

“You don’t understand. I coulda’ had class. I coulda’ been a contender. I could’ve been somebody instead of a bum, which is what I am. Let’s face it.” —Marlon Brando as Terry Malloy in On the Waterfront (Elia Kazan, 1954)

While Brando, who died in 2004 at the age of eighty, was a controversial, iconoclastic figure for much of his career, Film Forum is focusing on his myriad successes.

“The only thing an actor owes his public is not to bore them.” —Marlon Brando

Boring? Not Marlon Brando. As his acting teacher and Method mentor, Stella Adler, wrote, “He has the ability to hold the reality of his character and the needs of the script simultaneously, making every performance electric.”

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

SILENT MASTERPIECES WITH LIVE BENSHI AND SAMISEN AT JAPAN SOCIETY

Benshi star Ichiro Kataoka will narrate two silent masterpieces at Japan Society, with live shamisen music by Sumie Kaneko

THE BENSHI TRADITION AND THE SILVER SCREEN: A JAPANESE PUPPETRY SPIN-OFF
Japan Society
333 East 47th St. at First Ave.
Thursday, December 12, and Friday, December 13, $22-$31, 7:30
212-715-1258
www.japansociety.org

Japan Society’s “Ningyo! A Parade of Puppetry” began in September with Basil Twist’s mind-blowing Dogugaeshi and continued in October with National Bunraku Theater’s Date Musume Koi no Higanoko (Oshichi, the Greengrocer’s Daughter) and Sonezaki Shinju (The Love Suicides at Sonezaki) and in November with Sachiyo Takahashi/Nekaa Lab’s One Night in Winter and The Peony Lantern.

The fall series concludes with “The Benshi Tradition and the Silver Screen: A Japanese Puppetry Spin-Off,” two evenings of live music by Sumie Kaneko on the shamisen and benshi narration by contemporary “movie talker” Ichiro Kataoka, in Japanese with English subtitles, accompanying a pair of rarely screened silent masterpieces. On December 12, they will perform to Daisuke Ito’s 1927 jidaigeki A Diary of Chuji’s Travels, starring Denjirō Ōkōchi; originally a four-hour triptych, only 111 fragmented minutes now remain. That will be followed on December 13 by Shozo Makino’s 1910-17 ninety-minute work-in-progress Chushingura, an incomplete early cinematic adaptation of the story of the 47 ronin featuring Matsunosuke Onoe, who is said to have appeared in a thousand films by the time of his death in 1926 at the age of fifty, though only six survive, at least in part.

Both events will be preceded by a lecture at 6:30 by Princeton University professor Dr. Junko Yamazaki; there will be a postshow private gathering for artists and Japan Society members on December 12 and an artist Q&A on December 13. The previous productions in “Ningyo! A Parade of Puppetry,” being held in conjunction with the Japan Society exhibition “Bunraku Backstage,” sold out in advance, so act quickly if you want to catch what should be two rare, unique experiences.

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

ROBERT SIODMAK: “CORRUPTER OF THE GERMAN FAMILY”

Phantom Lady is one of seventeen films in Robert Siodmak retrospective at Lincoln Center

ROBERT SIODMAK: DARK VISIONARY
Film at Lincoln Center, Walter Reade Theater
144 West Sixty-Fifth St. at Amsterdam Ave.
December 11-19, All-Access Pass $119
www.filmlinc.org

In his 2010 essay “Dark Mirrors” for the Museum of the Moving Image, David Cairns wrote, “If film noir had not somehow coalesced from a miasma of influences floating in the atmosphere of ’40s America — postwar disillusion and anxiety, French poetic realism, German Expressionism, the gangster movie, and pulp fiction traditions — perhaps only Fritz Lang or Robert Siodmak could have invented it. Lang, because his work always carried a dark worldview, filtering sociopolitical tensions and focusing them into intense, ecstatic, tortured images. Siodmak, because his movies already followed two normally divergent paths — social realism and expressionist nightmare — which converge to make noir.”

While the Austrian-born German-American Lang is well known for such classics as Metropolis, M, You Only Live Once, Ministry of Fear, The Big Heat, and Dr. Mabuse, the Gambler, made in Germany and Hollywood, Siodmak, who was born in Dresden and worked in Germany, Paris, and California, is far less well known despite making some all-time favorites in multiple genres and being denounced by Josef Goebbels as “a corrupter of the German family.”

Film at Lincoln Center is honoring the director with the seventeen-film retrospective “Robert Siodmak: Dark Visionary,” including new 4K restorations of 1943’s Son of Dracula, 1944’s Phantom Lady, 1945’s The Suspect, and 1946’s The Killers. The works range from 1930’s People on Sunday, codirected by Edgar G. Ullmer, through 1952’s The Crimson Pirate, and feature such stars as Ava Gardner, Lon Chaney Jr., Maria Montez, Charles Laughton, Olivia de Havilland, George Sanders, Dorothy McGuire, Burt Lancaster, Barbara Stanwyck, Victor Mature, Yvonne De Carlo, Lloyd Bridges, and Ella Raines.

THE KILLERS

Burt Lancaster makes a killer film debut in classic 1946 noir from Robert Siodmak

THE KILLERS (Robert Siodmak, 1946)
Thursday, December 12, 6:30
Friday, December 13, 8:30
www.filmlinc.org

In 1950, Edmond O’Brien starred as auditor Frank Bigelow in Rudolph Maté’s classic noir D.O.A., a story told in flashback as Bigelow tries to figure out why someone has poisoned him. Four years earlier, O’Brien dealt with another kind of fatalism in Robert Siodmak’s The Killers, playing insurance agent Jim Reardon, who is investigating why a gas station attendant was brutally gunned down in his bed in suburban Brentwood, New Jersey. The film opens with cold-hearted contract killers Al (Charles McGraw) and Max (William Conrad) arriving in town, looking for the Swede (Burt Lancaster), aka Pete Lund and Ole Andreson. They waltz into Henry’s Diner, giving orders and exchanging mean-spirited dialogue with no fears or worries. When Nick Adams (Phil Brown) warns the Swede that the men are coming to kill him, the former boxer knows there’s nothing he can do about it anymore; he’s tired of running, and he’s ready to meet his end. It’s a shocking way to begin a movie; up to that point, it’s a faithful version of Ernest Hemingway’s short story, but the rest is the splendid invention of writers Richard Brooks, Anthony Veiller, and John Huston and producer Mark Hellinger. Reardon soon finds himself meeting with a series of gangsters as they relate, through flashbacks, a plot to rob a payroll, perpetrated by a motley crew that includes “Dum Dum” Clarke (Jack Lambert), “Blinky” Franklin (Jeff Corey), the Swede, and mastermind Big Jim Colfax (Albert Dekker), along with Big Jim’s gun moll, femme fatale extraordinaire Kitty Collins (Ava Gardner). Reardon’s boss (Donald MacBride) wants him to forget about it, since it’s essentially about a meager $2,500 insurance claim, but Reardon is determined to find out what happened to a quarter million in cash, with the help of the Swede’s childhood friend, Lt. Sam Lubinsky (Sam Levene).

Ava Gardner turns more than a few heads in THE KILLERS

Ava Gardner turns more than a few heads in The Killers

The Killers is an intense, passionate heist flick, structured like Citizen Kane, starting with a death and then putting everything together via interviews and flashbacks. Lancaster and Gardner are magnetic, he in his screen debut, she in the film that made her a star. Siodmak (The Dark Mirror, The Spiral Staircase) masterfully navigates the noir tropes, from Miklós Rózsa’s jazzy score, which jumps out from the opening credits, and Woody Bredell’s oft-angled black-and-white cinematography that maintains an ominous, shadowy sensibility throughout to deft characterizations and surprising plot twists. As it makes its way through the seven deadly sins, The Killers lives up to its fab billing as a “Raw! Rugged! Ruthless drama of a man who gambled — his luck — his love — his life for the treachery of a girl’s lips.” Nominated for four Oscars, for Best Director, Best Film Editing (Arthur Hilton), Best Music, and Best Adapted Screenplay, The Killers, which was also made into a 1958 student short by Andrei Tarkovsky and a 1964 crime drama by Don Siegel starring Lee Marvin, Angie Dickinson, John Cassavetes, Norman Fell, and Ronald Reagan, is screening December 12 and 13 in a new 4K restoration in the Film at Lincoln Center series “Robert Siodmak: Dark Visionary.” Be on the lookout for such other gems and surprises as Inquest, The Burning Secret, Cobra Woman, The Spiral Staircase, and Criss Cross.

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

TIME KEEPS ON TICKING, TICKING, TICKING . . . INTO THE FUTURE — AND THE PAST — AT MoMA

Christian Marclay’s twenty-four-hour masterpiece, The Clock, unfolds in real time (photo courtesy Paula Cooper Gallery and White Cube)

CHRISTIAN MARCLAY: THE CLOCK
MoMA, the Museum of Modern Art
11 West Fifty-Third St. between Fifth & Sixth Aves.
Through February 17, $17-$30
www.moma.org

In 2010, the Whitney presented “Festival,” a thrilling interactive retrospective of the work of Christian Marclay, featuring multiple multimedia site-specific installations and live performances. The New York–based multidisciplinary artist followed that up with a supreme work of utter brilliance, the captivating twenty-four-hour video The Clock, which premiered at White Cube in London, then won the Golden Lion at the Venice Biennale. Over the years in New York it has screened at the Paula Cooper Gallery, the David Rubenstein Atrium at Lincoln Center, and in 2012–13 at the Museum of Modern Art; it is now back at MoMA, where this must-see experience will be on view through February 19. “I can’t believe a decade has gone by since The Clock was last shown at MoMA,” Marclay said in a statement. “We’ve all aged except the actors on the screen, who never age. They may die but on the screen they live forever.”

Time is of the essence in Christian Marclay’s dazzling film The Clock (photo courtesy Paula Cooper Gallery and White Cube)

The film, always presented in a large, dark space with roomy, comfortable seats, unfolds in real time, composed of approximately twelve thousand clips from movies and television that feature all kinds of timepieces showing the minutes ticking away. Masterfully edited so that it creates its own fluid narrative, The Clock seamlessly cuts from romantic comedies with birds emerging from cuckoo clocks to action films in which protagonists synchronize their watches, from thrillers with characters battling it out in clock towers to dramas with convicted murderers facing execution and sci-fi programs with mad masterminds attempting to freeze time. Marclay mixes in iconic images with excerpts from little-known foreign works so audiences are kept on the edge of their seats, wondering what will come next, laughing knowingly at recognizable scenes and gawking at strange, unfamiliar bits.

Christian Marclay’s The Clock premiered at White Cube Mason’s Yard in London in 2010 (photo by Todd-White Photography)

Part of the beauty of The Clock is that while time is often central to many of the clips, it is merely incidental in others, someone casually checking their watch or a clock visible in the background, emphasizing how pervasive time is — both on-screen and in real life. Americans spend an enormous amount of time watching movies and television — and now addictively glued to social media platforms and videos on their phones — so The Clock is also a wry though loving commentary on what we choose to do with our leisure time as well.

The Clock is open during MoMA’s regular hours, with members getting priority. It is not necessarily meant to be viewed in one massive gulp, but it will be shown in its entirety on December 21 at 7:00, in conjunction with the Winter Solstice, and again on New Year’s Eve; ticketing will be announced soon. Since the film corresponds to the actual time, midnight should offer some fascinating moments, although you might be surprised how exciting even three o’clock in the morning can be. Expect huge crowds whenever you go — capacity is limited, on a first-come, first-served basis, and you can stay as long as you want — so be prepared to do something with all that valuable time spent on the digital line. But wait you should — it’s well worth every second.

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

FRUITFUL JewCE! CONVENTION BACK FOR SECOND YEAR

JeCE! THE JEWISH COMIC EXPERIENCE CONVENTION
Center for Jewish History
15 West Sixteenth St. between Fifth & Sixth Aves.
Sunday, November 10, $15-$25, 9:00 am – 8:00 pm
jewce.org
www.cjh.org

Jews played key roles in the development of the comic book industry in the United States, as artists, illustrators, editors, and publishers. In 2006-7, the Jewish Museum presented with the Newark Museum the outstanding exhibit “Masters of American Comics,” which explored the work of fourteen artists, several of whom were Jewish.

On November 10, the Center for Jewish History is hosting the second annual “JewCE! The Jewish Comic Experience Convention,” focusing on Jewish history, culture, and identity as depicted in comic books. There is a full slate of lectures, panel discussions, workshops, artist booths, and more, and awards (the jewcies!) will be handed out Sunday night in such categories as Jewish Tradition and Folklore, Diverse Representation, Historical Narrative, Autobiographical/Biographical Content, Contemporary Topics, and Combatting Prejudice, hosted by Roy Schwartz, Danny Fingeroth, Miriam Mora, and Fabrice Sapolsk. There will also be a special tribute to Trina Robbins, winner of the 2023 inaugural JewCE Award for Career Achievement who passed away in April at the age of eighty-five.

“In its second year, JewCE is more than just a superpowered celebration of Jewish comics and culture — it’s a beacon of resilience and unity,” Center for Jewish History president Dr. Gavriel Rosenfeld said in a statement. “With the troubling rise in antisemitism, it’s never been more crucial to tell our stories. Comics have always been a medium for the underdog, and JewCEshowcases the triumph of Jewish creativity over adversity.”

The impressive roster of speakers, awards judges, and artist alley participants include Chari Pere, Josh Edelglass, Fabrice Sapolsky, Tony Kim, Amit Tishler, Dean Haspiel, Emily Bowen Cohen, Paul Levitz, Miriam Mora, Danny Fingeroth, Koren Shadmi, Jordan B. Gorfinkel, Ben and Max Berkowitz, Roy Schwartz, Neil Kleid, Barbara Willy Mendes, Mathew Klickstein, Barbara Slate, Athena Finger, Cheryl Rubin, Mike Reiss, Josh Neufeld, Terry LaBan, Chris Claremont, Arie Kaplan, Ari Richter, Uri Fink, Amy Hungerford, Sholly Fisch, Omri Rose, Dr. Sean Wise, Hilary Price, Peter Kuper, Jeff Newelt, Heidi MacDonald, Jenny Caplan, and Lillian Laserson.

Among the special events are “American (Jewish) Splendor: Celebrating Harvey Pekar and Joyce Brabner,” “Jewish Mythology and Fantasy in Adventure Comics,” “DC Comics in the 80s — A Magic Moment,” “Exploring Jewish Humor in Comics,” and “Israeli Graphic Novels After October 7.” Below is the full schedule.

The Best-Known Comedy Writer You’ve Never Heard Of, with Mike Reiss, moderated by Mathew Klickstein, Leo and Julia Forchheimer Auditorium, 10:00

Drawing from Memory: From Archive to Graphic Novel, with Ari Richter, moderated by Amy Hungerford, Kovno-Shavl Room, 10:00

Jump into Drawing Comics!, with Josh Edelglass, Rennert Chapel, 10:00

American (Jewish) Splendor: Celebrating Harvey Pekar and Joyce Brabner, with Dean Haspiel, Josh Neufeld, Jeff Newel, Peter Kuper, and Arie Kaplan, moderated by Danny Fingeroth, Leo and Julia Forchheimer Auditorium, 11:30

Jewish Mythology and Fantasy in Adventure Comics, with the Berkowitz Brothers and Amit Tishler, moderated by Neil Kleid, Kovno-Shavl Room, 11:30

Comic Strip Workshop, with Chari Pere, Rennert Chapel, 11:30

DC Comics in the 80s — A Magic Moment, with Cheryl Rubin, Lillian Laserson, and Barbara Slate, moderated by Paul Levitz, Leo and Julia Forchheimer Auditorium, 1:00

Exploring Jewish Humor in Comics, with Arie Kaplan, Chari Pere, Hilary Price, Terry LaBan, and Uri Fink, moderated by Jenny Caplan, Kovno-Shavl Room, 1:00

Jewish Comics Trivia Game, with Sholly Fisch, Rennert Chapel, 1:00

Batman at 85, with Jordan B. Gorfinkel, Athena Finger, Danny Fingeroth, and N. C. Christopher Couch, moderated by Roy Schwartz, Leo and Julia Forchheimer Auditorium, 2:30

Leadership and Legacy: Trina Robbins Tribute, with Barbara “Willy” Mendes, and Barbara Slate, moderated by Heidi MacDonald, Kovno-Shavl Room, 2:30

JewCE: The Jewish Comics Experience Documentary Special and Q&A, with Miriam Mora, Tony Kim, and Danny Fingeroth, Rennert Chapel, 3:00

An Xciting Conversation with Chris Claremont, moderated by Roy Schwartz, Leo and Julia Forchheimer Auditorium, 4:00

Israeli Graphic Novels After October 7, with Uri Fink, Koren Shadmi, and Omri Rose, moderated by Sean Wise, Kovno-Shavl Room, 4:00

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

BRUCE WEBER: CHOP SUEY / THE TREASURE OF HIS YOUTH

Bruce Weber focuses in on Peter Johnson and others in cinematic hodgepodge

Bruce Weber focuses in on Peter Johnson and others in cinematic hodgepodge

CHOP SUEY (Bruce Weber, 2001)
Film Forum
209 West Houston St.
Sunday, November 3, 8:15
Wednesday, November 6, 8:50
Series runs November 1-7
212-727-8110
www.filmforum.org
www.bruceweber.com

Fashion photographer Bruce Weber, who directed the seminal Chet Baker doc Let’s Get Lost a quarter century ago, made this entertaining hodgepodge of still photos, old color and black-and-white footage, and new interviews and voice-over narration back in 2001. You might not know much about Frances Faye, but after seeing her perform in vintage Ed Sullivan clips and listening to her manager/longtime partner discuss their life together, you’ll be searching YouTube to check out a lot more. The film also examines how Weber selects and treats his male models, who are often shot in homoerotic poses for major designers (and later go on to get married and have children). As a special treat, Jan-Michael Vincent’s extensive full-frontal nude scene in Daniel Petrie and Sidney Sheldon’s 1974 Buster and Billie is on display here, as are vintage clips of Sammy Davis Jr., adventurer Sir Wilfred Thesiger, former Vogue editor Diana Vreeland, and Robert Mitchum singing in a recording studio with Dr. John.

The film is about model Peter Johnson and Weber as much as it is about the cult of celebrity; Weber gets to chime in on Elizabeth Taylor, Montgomery Clift, Clark Gable, Frank Sinatra, Arthur Miller, and dozens of other famous names and faces. Though an awful lot of fun, the film is disjointed, lacking a central focus, and the onscreen titles, end credits, and promotional postcards are chock-full of typos — perhaps emulating a Chinese takeout menu, hence the film’s title? Chop Suey is screening November 3 at 8:15, followed by a Q&A with Peter Johnson, and November 7 at 8:50 as part of Film Forum’s “Bruce Weber” series, which runs November 1-7 and also includes a new 4K restoration of Let’s Get Lost, followed by a talk with cinematographer Jeff Preiss; 1987’s Broken Noses, about former Olympian boxer Andy Minsker; 2018’s Nice Girls Don’t Stay for Breakfast, followed by a conversation with Carrie Mitchum and editor Chad Sipkin; 2004’s A Letter to True, a tribute to Weber’s dog; a compilation of shorts, videos, commercials, and works in progress; and The Treasure of His Youth: The Photographs of Paolo di Paolo.

Paolo di Paolo’s photograph of Pier Paolo Pasolini at Monte dei Cocci in 1960 is one of many highlighted in Bruce Weber documentary

THE TREASURE OF HIS YOUTH: THE PHOTOGRAPHS OF PAOLO DI PAOLO (Bruce Weber, 2022)
Saturday, November 2, 1:00
www.filmforum.org

“The mystery of Paolo di Paolo to me is that he was able to give up photography, something he once had such passion for,” documentarian Bruce Weber says at the beginning of the fabulous The Treasure of His Youth: The Photographs of Paolo di Paolo, a warm and inviting film about one of the greatest photographers you’ve never heard of.

In 1954, Italian philosopher Paolo di Paolo saw a Leica III camera in a shop window and, at the spur of the moment, decided to buy it. That led to fourteen extraordinary years during which the self-taught artist took pictures for Il Mondo and Il Tempo, documenting, primarily in black-and-white, postwar Italy as well as the country’s burgeoning film industry. He was not about glitz and glamour; he captured such figures as Luchino Visconti, Anna Magnani, Ezra Pound, Simone Signoret, Marcello Mastroianni, Charlotte Rampling, Alberto Moravia, Sofia Loren, Giorgio Di Chirico, and others in private moments and glorying in bursts of freedom. He went on a road trip with Pier Paolo Pasolini for a magazine story in which the director would write the words and di Paolo would supply the images. His photos of the society debut of eighteen-year-old Princess Pallavincini are poignant and beautiful, nothing like standard publicity shots.

Paolo di Paolo’s relationship with the camera is revealed in lovely documentary (photo courtesy Little Bear Films)

Then, in 1968, just as suddenly as he picked up the camera, he put it away, frustrated by the growing paparazzi culture and television journalism. A few years ago, Weber and his wife went into a small gallery in Rome where Weber, who has had a “love affair” with Rome since he was ten, discovered magnificent photos of many of his favorite Italian film stars. The gallery owner, Giuseppe Casetti, told him that the pictures were by an aristocratic gentleman he had bumped into at flea markets and who one day came into the bookstore where he was working and gave him one for free, knowing he was a collector. Casetti wanted to know who had taken the photo; “I was once a photographer,” di Paolo told him unassumingly.

That set Weber off on a search to find out everything he could about di Paolo, who is now ninety-seven. Even his daughter, Silvia di Paolo, had no knowledge of her father’s past as a photographer until she found nearly a quarter of a million negatives in the basement of the family home and began organizing them about twenty years ago. Paolo had never spoken of this part of his life; he wrote books on philosophy, was the official historian of the Carabinieri, and restored antique sports cars, but his artistic career was an enigma even though it was when he met his wife, his former assistant.

The father of the bride watches the young couple as they head down a country road (photo by Paolo di Paolo)

Weber follows di Paolo as he meets with photographer Tony Vaccaro, film producer Marina Cigona, and his longtime friend (but not related) Antonio do Paola, visits his childhood home in Larino, is interviewed by the young son of Vogue art director Luca Stoppini, and attends his first-ever retrospective exhibition (“Il Mondo Perduto” at the Maxxi Museum in Rome). And he picks up the camera again, taking photos at a Valentino fashion show.

Cinematographer Theodore Stanley evokes di Paolo’s unpretentious style as he photographs the aristocratic gentleman walking up a narrow cobblestoned street, his cane in his right hand, an umbrella in his left over his head, and driving one of his sports cars. Editor and cowriter Antonio Sánchez intercuts hundreds and hundreds of di Paolo’s photos, several of which are discussed in the film: a spectacular shot of Pasolini at Monte dei Cocci, the director in the foreground, the famous cross atop a hill in the background; Visconti in a chair, fanning himself; a scene in which a father, hands in his pocket, watches his daughter and new son-in-law walking away on an empty country road. There are also clips from such classic films as Rocco and His Brothers, Accatone, Rome Open City, Marriage Italian Style, and 8½. It’s all accompanied by John Leftwich’s epic score.

As Cigona tells di Paolo about having ended his flourishing photography career, “People said, ‘Why did you do that? You were quite famous.’” It was never about the fame for di Paolo, but now the secret is out.

“For me, every object is a miracle,” Pasolini says in an archival interview. In The Treasure of His Youth, Weber treats every moment with di Paolo and his photographs as a miracle. So will you.

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