this week in film and television

TAISHO ROMAN: FEVER DREAMS OF THE GREAT RECTITUDE

Teruo Ishii’s Horrors of Malformed Men is one of six wild and unpredictable films in Japan Society series (photo © 1969 Toei Co., Ltd)

TAISHO ROMAN: FEVER DREAMS OF THE GREAT RECTITUDE
Japan Society
333 East 47th St. at First Ave.
Friday, December 15, and Saturday, December 16, $12-$16 per film
212-715-1258
japansociety.org

“Taisho is the best,” legendary Japanese filmmaker Seijun Suzuki once said. I can’t disagree.

Japan Society is celebrating the Western-influenced Taisho period, which followed the Meiji and ran from 1912 to 1926, during the reign of the country’s 123rd emperor, Yoshihito, with the film series “Taisho Roman: Fever Dreams of the Great Rectitude.” As a general rule, I am always attracted to the most unusual, bizarre, and strange films of festivals, the kind most likely to be shown at midnight screenings. In the case of “Taisho Roman,” however, that would essentially mean all six movies.

The festival kicks into high gear Friday night with a half dozen wide-ranging works, beginning with a double feature at 6:00 of Teinosuke Kinugasa’s hourlong 1926 silent classic, A Page of Madness (the 1970s New Sound version of this previously lost silent film), about a man who takes a custodial job in a mental institution where his ailing wife is being treated, partly inspired by the director having met the emperor, and Shuji Terayama’s 1979 forty-minute Grass Labyrinth, a psychosexual memory tale based on the novel by Kyoka Izumi. At 9:00, Japan Society screens a thirty-fifth-anniversary 35mm print of Toshio Matsumoto’s 1988 Dogra Magra, a surreal drama of memory and identity from a story by detective novelist Kyusaku Yumeno.

On Saturday at 3:00, it’s time for Teruo Ishii’s wild and unpredictable 1969 Horrors of Malformed Men, in which the protagonist escapes an asylum and tries to figure out who he is. At 5:00 is the international premiere of Suzuki’s 1980 genre-defying Zigeunerweisen, a unique adaptation of Hyakken Uchida’s Disk of Sarasate and Yamataka-boshi. The series concludes at 8:00 with a thirty-fifth-anniversary screening of Akio Jissoji’s 1988 Tokyo: The Last Megalopolis, based on the first three volumes of Hiroshi Aramata’s 1980s epic Teito Monogatari, an occult reimagining of the history of Tokyo.

“Exploring one of Japan’s most fascinating periods, ‘Taisho Roman’ pulls from some of Japanese literature’s most occult and imaginative texts — writings that to this day remain untranslated,” Japan Society film programmer and series curator Alexander Fee said in a statement. “Featuring films that range from exploitation to avant-garde and angura, this series collects both well-known and forgotten works that envisage differing realities of the often-mythologized era of Japanese history.”

You might as well just movie in to Japan Society for a few days so you can also check out the current exhibition “Out of Bounds: Japanese Women Artists in Fluxus.”

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

PSYCHIC CINEMA: EXPERIMENTAL FILMS — NICK DIDKOVSKY AND ROBERT KENNEDY

Who: Nick Didkovsky and Robert Kennedy
What: Experimental short films with live musical accompaniment
Where: The LetLove Inn, 21-27 Twenty-Third Ave., Astoria
When: Monday, December 11, free (donations accepted), 9:00
Why: On December 11 at the LetLove Inn in Astoria, Nick Didkovsky of Doctor Nerve and Robert Kennedy of the Flushing Remonstrance will team up for the next iteration of “Psychic Cinema,” an evening of classic experimental short films by Bill Morrison, Joel Schlemowitz, Stan Brakhage, Peter Tscherkassky, Barbara Hammer, Lawrence Jordan, and others, set to all-new experimental live scores. Kennedy will be on keyboards, electronics, and voice, Didkovsky on guitar. In May, the duo performed to a collection of surrealist and Dada works by Fernand Léger, Hans Richter, Man Ray, Władysław Starewicz, Slavko Vorkapich, Mary Ellen Bute, Joseph Cornell, Marie Menken, Wallace Berman, Tscherkassky, and Guy Maddin, which should provide insight into what awaits on December 11. Admission is free; donations are accepted.

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

MY HARRY

Photographer unknown, Harry Smith at Naropa Institute, gelatin silver print, 1990 (Harry Smith Papers, Getty Research Institute, Los Angeles; gift of the Harry Smith Archives)

MY HARRY
Whitney Museum of American Art, Education Center and Hess Family Theater
99 Gansevoort St.
December 8-10, $18-$25
212-570-3600
whitney.org

The Whitney celebrates the legacy of American polymath Harry Smith in the three-day festival “My Harry.” Held in conjunction with the multimedia exhibition “Fragments of a Faith Forgotten: The Art of Harry Smith,” which continues at the museum through January 28, the revelry features listening sessions, illustrated lectures, film screenings, conversations, live music, art workshops, and more, with appearances by friends and colleagues of Smith, who was born in Portland, Oregon, in 1923 and died in New York City in 1991 at the age of sixty-eight, leaving behind a treasure trove of music, art, and film that he both made and collected, as well as a lifelong interest in the occult. Among those participating in the weekend are Carol Bove, Ali Dineen, Bradley Eros, Raymond Foye, Andrew Lampert, April and Lance Ledbetter, James Inoli Murphy, Rani Singh, Peter Stampfel, Charles Stein, and Anne Waldman. Below is the full schedule.

My Harry: Magick and Mysticism
Friday, December 8, $8-$10, 5:30–9 pm

Listening Session: Harry Smith’s Field Recordings, 5:30

Fragments of a Faith Forgotten: A Presentation by Carol Bove, with Carol Bove and Andrew Lampert, 6:30

Screening of Harry Smith’s “Film No. 14: Late Superimpositions,” 7:30

Harry Smith and the Future of Magick: A Presentation by Charles Stein, with Charles Stein and Raymond Foye, 8:00

Harry Smith, Untitled [Zodiacal hexagram sctratchboard], ink on cardstock, ca 1952 (Lionel Ziprin Archive, New York)

My Harry: Stories, Songs, and Strings
Saturday, December 9, free with museum admission, 11:00 am – 6:00 pm

Stop Motion Animation Studio and Paper Airplane Workshop, hosted by Bradley Eros, 11:00 am – 3:00 pm

Singing Circle with Ali Dineen, 11:00 am

Peter Stampfel and the Atomic Meta-Pagan Posse, with Peter Stampfel, Eli Smith, Zoe Stampfel, Eli Hetko, Steve Espinola, Paul Nowinski, Sam Werbalowsky, Heather Wagner, and Dok Gregory, 12:00

String Figure Workshop with James Inoli Murphy, 12:00

Paper Airplane Contest with Bradley Eros, 2:00

On Mahagonny: A Presentation by Rani Singh, 5:00

My Harry: Affinities
Sunday, December 10, free with museum admission, 11:00 am – 5:00 pm

Listening Session: Harry Smith’s Field Recordings, 11:00 am

On Harry’s Trail: A Presentation by Dust-to-Digital, with Lance and April Ledbetter, 12:00

Screening: A selection of films and videos featuring Harry Smith by a variety of the artist’s friends and associates, 1:00

Friendly Rivals: The Art of Jordan Belson, a Presentation by Raymond Foye, 3:00

Anne Waldman, 4:00

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

ARTIST FOR ACTION PRESENTS SHERYL CROW, PETER FRAMPTON, KEVIN BACON + SPECIAL GUESTS: A FATHER’S PROMISE FILM LAUNCH CONCERT

Who: Jimmy Vivino, Mark Barden, Sheryl Crow, Peter Frampton, Kevin Bacon, Bernie Williams, Rozzi, the Dumes, the Alternate Routes, Jen Chapin, Aztec Two-Step 2.0, more
What: Benefit concert for Sandy Hook Promise celebrating film launch
Where: NYU Skirball Center for the Performing Arts, 566 La Guardia Pl. between Third & Fourth Sts.
When: Thursday, December 7, $81-$256, 7:30
Why: “Music succeeds when politics and religion fail,” Darryl “DMC” McDaniels says in A Father’s Promise: The Story of a Father’s Promise to End Gun Violence, a documentary opening December 8 at LOOK Dine-In Cinema W57. Directed by Rick Korn and executive produced by Sheryl Crow, the film follows musician Mark Barden as he takes action after his seven-year-old son Daniel was one of twenty-six people murdered at Sandy Hook Elementary in Newtown, Connecticut, on December 14, 2012.

Barden, cofounder of Sandy Hook Promise, and filmmaker Korn teamed up with Matthew Reich and Neal Saini to form Artist for Action to Prevent Gun Violence. On December 7 at NYU Skirball, Barden and the Promise Band will join musical director Jimmy Vivino and a group of all-stars to celebrate the launch of the film; among the special guests performing live will be Crow, Peter Frampton, Kevin Bacon, Bernie Williams, Rozzi, the Dumes, the Alternate Routes, Jen Chapin, and Aztec Two-Step 2.0. The evening will be filmed for a future documentary, continuing to raise funds and awareness about the horrors of gun violence, the leading cause of death for children and teens in America.

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

ISABELLE HUPPERT AT THE QUAD

Isabelle will be in person — not on the phone — at the Quad for Q&As following screenings of Jean-Paul Salomé’s La Syndicaliste

Who: Isabelle Huppert
What: Screenings followed by Q&As
Where: Quad Cinema, 34 West 13th St. between Fifth & Sixth Aves.
When: December 1-2 (festival continues all month)
Why: For more than half a century, French actress Isabelle Huppert has been one of cinema’s brightest stars. She’s appeared in more than 130 films, working with a who’s who of international directors, including Claude Chabrol, Márta Mészáros, Jean-Luc Godard, Diane Kurys, Bertrand Tavernier, David O. Russell, Joachim Trier, Hal Hartley, Ursula Meier, Bertrand Blier, Curtis Hanson, Hong Sang-soo, Ira Sachs, Paul Verhoeven, Wes Anderson, Michael Cimino, and Michael Haneke. She’s also done more than thirty plays, including 4.48 Psychose, The Maids, and The Mother in New York.

Huppert will be back in New York on December 1 and 2, participating in Q&As following screenings of Jean-Paul Salomé’s Venice Film Festival selection La Syndicaliste, a thriller in which Huppert plays real-life Irish trade unionist and whistleblower Maureen Kearney. Huppert will be at the Quad for the 7:15 show on December 1 and the 4:15 and 7:15 shows on December 2. The Quad will also be presenting “Restorations Starring Isabelle Huppert,” part of its ongoing “From the Vault: The Cohen Film Collection” series, on three Wednesdays in December: Benoît Jacquot’s 1999 Keep It Quiet on December 6, André Téchiné’s 1979 The Brontë Sisters on December 13, and Maurice Pialat’s 1980 Loulou on December 20. Finally, her latest film, François Ozon’s The Crime Is Mine, a murder mystery adapted from a 1934 play, opens exclusively at the Quad on December 25. Huppert, who turned seventy this past March, is as resplendent as ever, so these Q&As are must-see events.

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

DOC NYC: NEIRUD

Filmmaker Fernanda Faya explores a lost part of her family’s past in Neirud

NEIRUD (Fernanda Faya, 2023)
Available online through November 26
Festival runs November 8-26 at IFC Center, SVA Theatre, Village East by Angelika, and Bar Veloce, $13-$30
www.docnyc.net
www.neirudfilm.com

“Who was Neirud?” Brazilian filmmaker Fernanda Faya asks in her poignant documentary, Neirud, making its international premiere at DOC NYC.

When Fernanda was an infant, her father, Edgard, bought a camcorder, taking lots of home movies of her. When she got older, Faya because curious about the woman she knew as her aunt, Élida Neirud dos Santos, who was best friends with Edgard’s mother, Grandma Nely. Faya’s mother was Jewish, and her father came from a nomadic Roma circus clan; Neirud was Black.

One afternoon, long after Nely’s death, Faya starts asking Neirud about her life. Neirud, was born in 1935 in São Francisco de Assis in Rio Grande do Sul, what Faya describes as Brazil’s whitest region, then raised in Livramento. Her parents sent her to live with a white family, where she was responsible for all the chores.

Neirud ran away when she was eight and became a nanny in Porto Alegre. When she was twelve, she joined the Great Circus Real Palassius. Fascinated by what she has learned in just a few minutes, Faya tells Neirud that she wants to conduct a more in-depth interview. Unfortunately, Neirud passed away a few months later, in 2014.

Neirud had left nothing behind; her apartment was empty: no clothes, no photos, no notebooks or journals. So Faya began a nearly ten-year-journey to find out everything she could about Nely, Neirud, and the circus, where the two women had met and where Neirud developed into an intimidating circus wrestler known as Mulher Gorila.

“I never really understood what they did, so in my mind, Aunt Neirud became a superhero, and Gorilla Woman, her circus persona, was her secret identity,” Faya says in voice-over narration. “Aunt Neirud became the only living memory of this circus history.”

The more Faya digs, the more she uncovers, unraveling the mystery of her aunt and grandmother. The story involves homosexuality, a military coup, racism, the church, and colorful balls on the beach.

Featuring a score by Brazilian guitarist and composer Chico Pinheiro, Neirud is a bittersweet documentary. Because of the whitewashing of history and selective memory, Faya (One for the Road) only knew so much about her family, and it’s a shame that she didn’t know more about her grandmother and aunt while they were still alive. At the same time, it is exciting to follow her as the truths slowly emerge and their beautiful, complicated, and important stories are told at last.

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

DOC NYC: ANGEL APPLICANT

Ken August Meyer explores his connection to Swiss-German artist Paul Klee in Angel Applicant

ANGEL APPLICANT (Ken August Meyer, 2023)
Available online through November 26
Festival runs November 8-26 at IFC Center, SVA Theatre, Village East by Angelika, and Bar Veloce, $13-$30
www.docnyc.net
angel-applicant.com

During the pandemic, I watched a Zoom play called UnRavelled about Canadian scientist Anne Adams, who, in 1994, at the age of fifty-three, became obsessed with Maurice Ravel’s “Bolero” and made a remarkable painting based on the musical work, which Ravel composed for dancer Ida Rubenstein in 1928, when he was fifty-three. As it turns out, both Adams and Ravel had the same serious brain disease, one that affects memory while lighting a creative fuse.

I was thinking about that play while watching Ken August Meyer’s Angel Applicant, in which Meyer becomes obsessed with Swiss-German painter Paul Klee, who suffered from systemic scleroderma, a diseases that attacks connective tissue and for which there is still no cure. Meyer was diagnosed with the same life-threatening disease, which ultimately spurred him to make this film, although he had little previous cinematic experience. Meyer is particularly taken by Klee’s later period, when the scleroderma affected Klee’s work significantly. Meyer believes that he can understand what Klee is saying in these canvases and how it relates to their shared, rare autoimmune disease.

In the film, Meyer, who wrote, directed, and edited it and produced it with director of photography Jason Roark, explains, “It’s really an odd sort of comfort for me. It’s not particularly cheerful, nor is it as colorfully inventive as his earlier work, but I’m obsessed with it. It really speaks to me like a strange language of cryptic codes and symbols that I can’t help but interpret for myself. And I know this is gonna sound completely crazy and pretty pretentious, but some of these paintings feel like they’re messages sent in a bottle just for me.”

Meyer, a former drugstore stock boy, Zamboni driver, graphic designer, and advertising art director, reviews his old family photos and home videos and intercuts them with images of Klee’s drawings and paintings, including Portrait White-Brown Mask, Atrophy, Insula Dulcamara, As Time Passes By, and High Spirits. He examines several of them in depth, decoding their meaning from a health standpoint while visually comparing them to shots of him undergoing testing and getting results in which the colors, shapes, and lines evoke elements of Klee’s work. “They are testaments that destruction can feed creation and make something so ugly so beautiful,” says Meyer, who studied art and design at the School of Visual Communication Design at Kent State University.

The film also features several reenactments of key moments from Meyer’s life. One takes place in a store where two women thought that Meyer, his body stiff from the disease, was actually a mannequin. “Did he also feel like a stiff, broken doll?” he asks, wondering whether Klee, known as the Bauhaus Buddha, had felt similarly. In addition, he flies to Bern to meet with one of Klee’s grandchildren, Alexander Klee, who cofounded the Zentrum Paul Klee and passed away in 2021 at the age of eighty.

Even as his condition worsens, Meyer refuses to give in, documenting his life as he gets married and has a child, who he wants to see grow up. He continues to get bad news about his health, but he keeps the camera going and doesn’t lose his sense of humor. “Fear was becoming the new order [in the world]. And somehow, it even found my home address,” he says, zooming in on a “Consider Cremation!” mailing he received.

Meyer named the film after a ghostly 1939 painting by Klee as well as his newfound belief that maybe angels do exist. When he asks, “How long do I have? And what comes after that?,” we fully believe that he’s not done yet. It’s also a question that we all ask ourselves, whether we’re ill or not.

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