this week in film and television

INGMAR BERGMAN CENTENNIAL RETROSPECTIVE: SHAME / THE PASSION OF ANNA (WITH LIV ULLMANN PRESENT)

Eva (Liv Ullmann) and Jan (Max von Sydow) struggle to preserve their love during a brutal civil war in Ingmar Bergman’s Shame

SHAME (Ingmar Bergman, 1968)
Film Forum
209 West Houston St.
February 28, March 1-3
Series runs February 7 – March 15
212-727-8110
filmforum.org

Longtime Ingmar Bergman muse Liv Ullmann will bet at Film Forum on March 2 for a Q&A following the 6:15 screening of Shame, part of a five-week retrospective celebrating the hundredth anniversary of the Swedish director’s birth. Shame is a brilliant examination of the physical and psychological impact of war, as seen through the eyes of a happily married couple innocently caught in the middle of the brutality. Jan (Max von Sydow) and Eva Rosenberg (Liv Ullmann) have isolated themselves from society, living without a television and with a broken radio, maintaining a modest farm on a relatively desolate island a ferry ride from the mainland. As the film opens, they are a somewhat ordinary husband and wife, brushing their teeth, making coffee, and discussing having a child. But soon they are thrust into a horrific battle between two unnamed sides, fighting for reasons that are never given. As Jan and Eva struggle to survive, they are forced to make decisions that threaten to destroy everything they have built together. Shot in stark black-and-white by master cinematographer Sven Nykvist, Shame is a powerful, emotional antiwar statement that makes its point through intense visual scenes rather than narrative rhetoric. Jan and Eva huddle in corners or nearly get lost in crowds, then are seen traversing a smoky, postapocalyptic landscape riddled with dead bodies. Made during the Vietnam War, Shame is Bergman’s most violent, action-filled film; bullets can be heard over the opening credits, announcing from the very beginning that this is going to be something different from a director best known for searing personal dramas. However, at its core, Shame is just that, a gripping, intense tale of a man and a woman who try to preserve their love in impossible times. Ullmann and von Sydow both give superb, complex performances, creating believable characters who will break your heart. Shame is also being shown February 28, March 1, March 2 at 2:00 and 10:15, and March 3.

Andreas Winkelman (von Sydow) and Anna Fromm (Liv Ullmann) seek love, companionship, and the truth in Ingmar Bergman’s The Passion of Anna

THE PASSION OF ANNA (Ingmar Bergman, 1969)
Film Forum
March 2, 3, 7, 13
filmforum.org

Liv Ullmann will also be at Film Forum on March 3 for a Q&A following the 12:30 screening of The Passion of Anna, the conclusion to Ingmar Bergman’s unofficial island trilogy that began with Hour of the Wolf and Shame, each work filmed on Fårö island and starring Ullmann and Max von Sydow as a couple. Bergman throws caution to the wind in The Passion of Anna, the Swedish title of which is the more direct and honest The Passion. The 1969 film was made while Bergman and Ullmann’s personal relationship was ending, and it shows. The film opens with Andreas Winkelman (von Sydow) trying to repair his leaking roof. A divorcé, he lives by himself on the island, treasuring his isolation as he smokes his pipe and goes about his basic business. But when Anna Fromm (Ullmann) stops by to use his phone, he gets swept up into Anna’s drama — her husband and child were recently killed in an accident that left her with a bad leg — and that of her best friends, Elis Vergerus (Erland Josephson) and his wife, Eva (Bibi Andersson). Suddenly Andreas is going to dinner parties, taking in a puppy, and getting involved in the mysterious case of a rash of animal killings, whom some are blaming on off-kilter local resident Johan Andersson (Erik Hell). And the more his privacy is invaded, the worse it all could become.

For the first time, Bergman, a perfectionist of the highest order, allowed improvisation in several scenes. He gives each actor a few minutes to describe their characters during the film, breaking the fourth wall, while also adding his own narration. “Has Ingmar Bergman made a picture about his cast, or has his cast made a picture about Ingmar Bergman?” the original American trailer asks. Cinematographer extraordinaire Sven Nykvist uses a handheld camera while switching between black-and-white and color, occasionally focusing on dazzling silhouettes and close-ups that are challenged by the stark reds of a blazing fire and Anna’s hat and the bold blues of the sky and Anna’s penetrating eyes, all splendidly edited by Siv Lundgren. Bergman tackles such regular subjects as God, infidelity, dreams, war, and loneliness with a slow build that threatens to explode at any moment. The film is also very much about the search for truth, both in real life and cinema. It might be called The Passion of Anna, but there is an overarching coldness that pervades everything. The finale is sensational, the scene going out of focus until virtually nothing is left. The Passion of Anna is screening in Film Forum’s “Ingmar Bergman Centennial Retrospective” on March 2, 3, 7, and 13.

VICTOR SJÖSTRÖM — THE SCREEN’S FIRST MASTER: HE WHO GETS SLAPPED

Lon Chaney stars as a scientist-turned-clown in Victor Sjöström’s He Who Gets Slapped

HE WHO GETS SLAPPED (Victor Sjöström, 1924)
Film Forum
209 West Houston St.
Monday, February 26, 6:20
Series continues through March 5
212-727-8110
filmforum.org

In conjunction with its Ingmar Bergman Centennial Retrospective, Film Forum is presenting “Victor Sjöström: The Screen’s First Master,” five films by the Swedish master who was Bergman’s mentor and appeared in two of his films, To Joy and Wild Strawberries. The mini-festival continues February 26 with Sjöström’s second English-language film and MGM’s first-ever picture, He Who Gets Slapped, which Sjöström wrote and directed under the Americanized last name Seastrom. Lon Chaney stars as scientist Paul Beaumont, who is excited when he makes a major discovery about the origins of humankind, but his wealthy benefactor, Baron Regnard (Marc McDermott), steals his work and presents it to the Academy, slapping Beaumont’s face to great hilarity and applause when the scientist claims it is actually his theory. After Regnard also steals Beaumont’s wife, Maria (Ruth King), the sad-sack scientist runs off and joins the circus, rising in stature as He, a clown who gets slapped over and over and over as a kind of self-flagellation, much to the delight of audiences everywhere. “Over a hundred slaps last night, He,” fellow clown Tricaud (Ford Sterling) tells him. “You lucky fellow! Soon you’ll be getting famous! But you know what they like — there’s nothing makes people laugh so hard as seeing someone else get slapped!” The distraught clown perks up when Consuelo (Norma Shearer) joins the circus as a bareback rider who will team up with Bezano (John Gilbert), but He — Beaumont doesn’t even exist anymore — gets mad when he finds out that Consuelo’s father, Count Mancini (Tully Marshall), has sold her to the circus because he is nearly broke — and shortly after that the Count is pimping his daughter off to none other than the Baron, something that neither Bezano nor He is about to let happen.

he who gets slapped poster

Based on Leonid Andreyev’s 1914 Russian play, He Who Gets Slapped is a taut psychological drama in which Sjöström and cowriter Carey Wilson explore the mind of a smart, talented man who loses his sanity, choosing to let himself be continually humiliated instead of fighting for what’s right. Sjöström (The Wind, The Phantom Carriage) and cinematographer Milton Moore add several cinematic tricks to reveal He’s mental state, including a circle of miniature clowns surrounding a globe as well as an early morphing effect that would be later developed to change Lon Chaney Jr. into a killer beast in Frankenstein Meets the Wolf Man. Chaney, the Man of a Thousand Faces, would also play a clown opposite Loretta Young in the 1928 silent film Laugh, Clown, Laugh. It is thrilling to see Gilbert and Shearer together, shortly before their stardom took off; they would also both appear in Edmund Mortimer’s The Wolf Man and Monta Bell’s The Snob that same year. Coincidentally, He Who Gets Slapped is the first film introduced by Leo the Lion, and a circus lion plays a key role in the story. Chaney will break your heart, especially when he has to deal with his own fake heart that is part of his act; even if you hate clowns, you won’t hate this one. The film, which asks the question “What is it in human nature that makes people quick to laugh when someone else gets slapped — whether the slap be spiritual, mental, or physical?” is screening February 26 at 6:20 and will be accompanied by live music by pianist Steve Sterner. The series continues with Lillian Gish in The Scarlet Letter on March 4 and The Outlaw and His Wife on March 5, both also with Sterner.

INGMAR BERGMAN CENTENNIAL RETROSPECTIVE: SUMMER WITH MONIKA / HOUR OF THE WOLF / PERSONA

Harry (Lars Ekborg) and Monika (Harriet Andersson) run away to start a new life in Summer with Monika

SUMMER WITH MONIKA (SOMMAREN MED MONIKA) (Ingmar Bergman, 1953)
Film Forum
209 West Houston St.
February 23, 24, 26, 27, March 3
Series runs February 7 – March 15
212-727-8110
filmforum.org

Swedish director Ingmar Bergman shocked the film world in 1953 with the controversial Summer with Monika, the tale of two young lovers who run away from their families and go on a brief but intense sexual adventure. The film featured full-frontal nudity by Harriet Andersson, with whom Bergman had a short relationship; the movie was actually edited down by distributor Kroger Babb to focus on the sex and nudity, renaming it Monika, the Story of a Bad Girl! and marketing it to US audiences as an exploitation picture. But Film Forum is screening the superb original version as part of its five-week centennial celebration of Bergman’s birth. Based on the 1951 novel by Per Anders Fogelström, Summer with Monika takes place in a working-class area of Stockholm, where Harry (Lars Ekborg) and Monika (Harriet Andersson) toil away in a glassware factory. Harry lives with his ailing father (Georg Skarstedt), while Monika sleeps in her family’s kitchen. Both teens are bored with their already dull and unfulfilling lives. So when they meet in a café, the bold, forward Monika lures the shy, fragile Harry into what begins as a summer of fun, as they steal Harry’s father’s boat and head out to their own private hideaway, but ends up as something very different. Bergman boils down an entire relationship — courtship, romance, children, breakup, in a way a precursor to his later epic, Scenes from a Marriage — into ninety-seven sharp, intuitive moments, turning clichéd plot twists into subtle statements on life and family. Cinematographer Gunnar Fischer shoots the film in a dark, gloomy black-and-white, with stark close-ups — Monika stares directly into the camera at one point, challenging the audience — and long shots of water and nature, while Erik Nordgren’s score is kept spare, with Bergman favoring natural sound and light.

Harriet Andersson stars as a fierce, independent spirit in Ingmar Bergman’s Summer with Monika

Andersson, who would go on to make many more films with Bergman, including Sawdust and Tinsel, Smiles of a Summer Night, Cries and Whispers, and Fanny and Alexander, is enticing as Monika, who doesn’t mind stepping on people’s souls while asserting herself as an independent woman, while Ekborg, who had a small part in Bergman’s The Magician, shows plenty of vulnerability as Harry, who wants to do the right thing and is ready to at least try to be a grown-up when things get complicated. The film is still shocking after all these years, and still rings true. “I want summer to go on just like this,” Monika says. But there are always other seasons, and more summers, to come. Summer with Monika is screening February 23, 24, 26, and 27 and March 3 in the Film Forum series, which continues through March 15 with such other seasonal Bergman works as Smiles of a Summer Night, Summer Interlude, and Autumn Sonata.

Liv Ullmann and Ingmar Bergman alter ego Max von Sydow pull up to shore in Hour of the Wolf

HOUR OF THE WOLF (VARGTIMMEN) (Ingmar Bergman, 1968)
Film Forum
February 24 and 28, March 1, 2, 5, 9
filmforum.org

One of Ingmar Bergman’s most critically polarizing films — the director himself wrote, “No, I made it the wrong way” three years after its release — Hour of the Wolf is a gripping examination of an artist’s psychological deterioration. Bergman frames the story as if it’s a true tale being told by Alma Borg (Liv Ullmann) based on her husband Johan’s (Max von Sydow) diary, which she has given to the director. In fact, as this information is being shown in words onscreen right after the opening credits, the sound of a film shoot being set up can be heard behind the blackness; thus, from the very start, Bergman is letting viewers know that everything they are about to see might or might not be happening, blurring the lines between fact and fiction in the film itself as well as the story being told within. And what a story it is, a gothic horror tale about an artist facing both a personal and professional crisis, echoing the life of Bergman himself. Johan and Alma, who is pregnant (Ullmann was carrying Bergman’s child at the time), have gone to a remote island where he can pursue his painting in peace and isolation. But soon Johan is fighting with a boy on the rocks, Alma is getting a dire warning from an old woman telling her to read Johan’s diary, and the husband and wife spend some bizarre time at a party in a castle, where a man walks on the ceiling, a dead woman arises, and other odd goings-on occur involving people who might be ghosts. Bergman keeps the protagonists and the audience guessing as to what’s actually happening throughout: The events could be taking place in one of the character’s imaginations or dreams (or nightmares), they could be flashbacks, or they could be part of the diary come to life. Whatever it is, it is very dark, shot in an eerie black-and-white by Sven Nykvist, part of a trilogy of grim 1968-69 films by Bergman featuring von Sydow and Ullmann that also includes Shame and The Passion of Anna. Today, Hour of the Wolf feels like a combination of Roman Polanski’s Rosemary’s Baby and Stanley Kubrick’s The Shining with elements of Mozart’s The Magic Flute — which Bergman would actually adapt for the screen in 1975 and features in a key, extremely strange scene in Hour of the Wolf. But in Bergman’s case, all work and no play does not make him a dull boy at all. Hour of the Wolf is screening February 24 and 28 and March 1, 2, 5, and 9 in Film Forum’s centennial celebration of the birth of Ingmar Bergman.

Liv Ullmann and Bibi Andersson come together in Ingmar Bergman’s dazzling Persona

PERSONA (Ingmar Bergman, 1966)
Film Forum
February 23-25, March 1-3, 7
filmforum.org

Ingmar Bergman’s magnificently complex 1966 avant-garde masterpiece, Persona, is not just about the relationship between an actress who has suddenly decided to stop speaking and the young nurse caring for her but about the very power of film as a narrative device able to explore and examine the psychological behavior of characters both fictional and real. Persona opens with mysterious, penetrating music by Lars Johan Werle joined by the sound and image of a movie projector as the reel counts down from ten, featuring snippets of an erect male member, a cartoon, a child’s hands, a comedic silent ghost story, a tarantula, a bleeding slaughtered lamb, and a nail being hammered through a man’s palm before the camera takes viewers inside a hospital where a boy in a bed (Jörgen Lindström) starts reading Mikhail Lermontov’s mid-nineteenth-century book A Hero of Our Time, which the author describes as “a portrait, but not of one man only. . . . You will tell me, as you have told me before, that no man can be so bad as this; and my reply will be: ‘If you believe that such persons as the villains of tragedy and romance could exist in real life, why can you not believe in the reality of Pechorin?’ . . . Is it not because there is more truth in it than may be altogether palatable to you?” That passage relates to Bergman’s oeuvre as a whole but particularly to Persona, a film about identity, storytelling, and the medium itself.

A young boy reaches out in avant-garde Bergman masterpiece, spectacularly photographed by Sven Nykvist

Bergman muse Liv Ullmann stars as Elisabet Vogler, an actress who suddenly stops talking while onstage in the midst of a play and continues her silence as she is hospitalized in an institution. Her doctor (Margaretha Krook) is sure there is nothing seriously wrong with Elisabet, that her refraining from speech is a choice based on the horrors she sees in the world. “Reality is diabolical,” she tells her, before sending Elisabeth and Nurse Alma (Bibi Andersson) to her cottage on Fårö Island, hoping the isolation will help ease her fears. On the island, Alma opens up about her own life, particularly about sex, but as the two women grow extremely close, they are also torn apart, both by the narrative and the celluloid, which rips and burns halfway through, setting up a chilling conclusion that is part existential thriller, part ghost story, and very much a sharp, incisive look deep into the human psyche. Filmed in haunting black-and-white by Sven Nykvist and including numerous dazzling, experimental shots, Persona is a grand cinematic achievement, an intense work that expanded the boundaries of what the medium can do. In his 1990 book, Images: My Life in Film, Bergman wrote, “Today I feel that in Persona — and later in Cries and Whispers — I had gone as far as I could go. And that in these two instances, when working in total freedom, I touched wordless secrets that only the cinema can discover.” Indeed, “wordless secrets” abound in Persona, one of Bergman’s most penetrating and mesmerizing tales. Even the title holds additional meaning, as “persona,” in Latin, originally referred to the mask an actor wore that represented the character they were playing onstage. Persona is screening February 23-25 and March 1-3 and 7 in Film Forum’s Ingmar Bergman Centennial Retrospective.

CAROLEE SCHNEEMANN AT MoMA

Carolee Schneemann’s early paintings and sculptures are a revelation at MoMA PS1 retrospective (photo by twi-ny/mdr)

Doc Fortnight 2018: George (Jeffrey Perkins, 2017) and Carolee, Barbara, and Gunvor, (Lynne Sachs, 2018), MoMA Film, Museum of Modern Art, 11 West 53rd St. between Fifth & Sixth Aves., 212-708-9400, Wednesday, February 21, $12, 7:30
“Art and Practice with Carolee Schneemann,” MoMA PS1, 22-25 Jackson Ave. at 46th Ave., 718-784-2084, Thursday, February 22, free with advance RSVP, 6:00
Exhibition continues at MoMA PS1 Thursday – Monday through March 11, suggested admission $5-$10, free for NYC residents
www.moma.org
www.caroleeschneemann.com

MoMA PS1’s “Carolee Schneemann: Kinetic Painting” is a revelatory exploration of the career of the immensely influential multidisciplinary artist. The seventy-eight-year-old Pennsylvania-born Schneemann will reveal yet more this week during two special programs. On February 21 at 7:30, she will be at MoMA for the world premiere screening of Lynne Sachs’s Carolee, Barbara, and Gunvor, a nine-minute short about Schneemann, Barbara Hammer, and Gunvor Nelson, which is screening with Jeffrey Perkins’s George, about George Maciunas and Fluxus, as part of “Doc Fortnight 2018: MoMA’s International Festival of Nonfiction Film and Media.” Schneemann, Perkins, and Sachs will participate in a discussion after the films; in addition, Alison Knowles will re-create her interactive 1963 piece Shoes of Your Choice. (MoMA PS1 will also be hosting “An Evening in Honor of Carolee Schneemann,” a screening and discussion on March 5 with Melissa Ragona, Jenny Jaskey, Branden W. Joseph, and the artist.) “Carolee Schneemann: Kinetic Painting” continues through March 11, an expansive two-floor survey that shines a light not only on Schneemann’s well-known feminist video and performance pieces but her exceptional paintings and sculptures. Superbly curated by Sabine Breitwieser with consulting curator Branden W. Joseph and organized at MoMA PS1 by Erica Papernik-Shimizu with Oliver Shultz, the show takes deep looks at such Schneemann works as Meat Joy, in which a group of people roll around with raw beef, chicken, and fish; Interior Scroll, in which Schneemann pulls a long strip of paper from her vagina and reads the contents; and Up to and Including Her Limits, for which she strapped herself in a harness and used her body to draw on a surface. In 1993, Schneemann declared, “I’m a painter. I’m still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.” For the Abstract Expressionist Pinwheel, a white-gloved staff member will spin the painting upon request. Like Joseph Cornell, she made shadowbox-type works, and her collections of sharp, often aggressive detritus hang on the walls like three dimensional paintings. Colorado House is a “failed” painting turned into a freestanding sculpture. Magnetic audio tape falls out of the bottom of One Window Is Clear — Notes to Lou Andreas Salomé, a tribute to the Russian-German psychoanalyst and writer.

Carolee Schneemann’s Flange 6rpm consists of seven foundry-poured aluminum sculptures that move at six revolutions per minute (photo by twi-ny/mdr)

“My work can take substance from the materials I find,” Schneemann wrote to French poet and activist Jean-Jacques Lebel in 1964, which helps explain Blood Work Diary, a visual document of her menstrual flow. For Body Collage, a naked Schneemann, coated in wallpaper paste and molasses, rolls around in paper shreds. Her body is also one of the main subjects in Fuses, a film in which she makes love with her then-partner, James Tunney, while her beloved cat, Kitch, hangs around nearby. Kitch can be found in several works, but it’s Cluny (and later Vesper) who Schneemann gets perhaps a little too close to in Infinity Kisses. Meanwhile, Vulva’s Morphia is so hot that Schneemann includes four electric fans to cool off the thirty-five vaginal depictions, with such text as “Vulva decodes feminist constructivist semiotics and realizes she has no authentic feelings at all; even her erotic sensations are constructed by patriarchal projections, impositions, and conditioning.” That statement gets to the heart of Schneemann’s six-decade oeuvre, taking back the female body, and the power that comes with that, and redefining it, with no limits. Particularly in the era of #MeToo, “Carolee Schneemann: Kinetic Painting” is an extraordinary exhibition by an extraordinary artist who has never been afraid to make the private public, and political.

OSCILLOSCOPE AT 10: AFTER TILLER / EMBRACE OF THE SERPENT

Dr. Susan Robinson has to make difficult choices when deciding whether to perform a late abortion

AFTER TILLER (Martha Shane & Lana Wilson, 2013)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Monday, February 19, $15, 7:00
Series runs February 19-22
718-636-4100
www.bam.org
www.aftertillermovie.com

BAMcinématek celebrates the tenth anniversary of Oscilloscope Laboratories, the independent studio founded by Beastie Boy Adam Yauch in 2008, with five days of films that are representative of its dedication to quality and diversity, screening February 19-22. The series begins on February 19 at 7:00 with After Tiller, in which directors and producers Martha Shane and Lana Wilson manage to humanize one of the most contentious, controversial, and complicated issues of our age: late abortion. In May 2009, Dr. George Tiller, who specialized in third-trimester abortions, was assassinated in front of his clinic in Wichita, Kansas. That left only four doctors in the United States who performed late abortions, each of whom had either trained or worked with Dr. Tiller. “It was absolutely no question in any of our minds that we were going to keep on doing his work,” one of those four doctors, Susan Robinson, says in the film. As After Tiller begins, Dr. Robinson works with Dr. Shelley Sella at Southwestern Women’s Options in Albuquerque, New Mexico, Dr. LeRoy Carhart is a former U.S. Air Force colonel who operates the Abortion & Contraception Clinic of Nebraska, and Dr. Warren Hern is director of the Boulder Abortion Clinic in Colorado. Shane and Wilson follow these four dedicated doctors who continue doing their work despite the personal danger associated with their profession, including harassment, murder, assault, and bombings. “When I walk out the door, I expect to be assassinated,” Dr. Hern says. The filmmakers show the doctors in their offices, meeting with women who are requesting late abortions for various reasons; Shane and Wilson also follow the abortion providers into their homes as they go on with their daily lives, offering an intimate portrait of these men and women who are so often called monsters but are firm in their belief that what they are doing is important and absolutely necessary, performing their jobs with care and understanding. However, Dr. Hern wonders if he should stop providing late abortions and just settle down peacefully with his new wife and adopted son, while Dr. Carhart and his wife opt to move out of Nebraska after a law change and meet resistance as they try to move their clinic to Maryland or Virginia.

Dr. Warren Hern is one of only four doctors in America who provides late abortions

The film also reveals that deciding to perform a late abortion is often an extremely difficult choice for the doctors as well as the patients and not something the providers do automatically when a woman comes to them. One of the most compelling scenes occurs when Drs. Sella and Robinson have a heart-wrenching disagreement over whether to proceed with a late abortion for a young woman, evaluating whether her reason is valid enough and lamenting that the ability of the woman to tell her story could affect the final decision. It’s a pivotal moment that also brings into focus the concerns of the American people; while less than one percent of the abortions performed in the country occur in the third trimester, the procedure is often the centerpiece of the antiabortion movement, but even pro-choice supporters will find themselves questioning the efficacy of all late abortions. The women come to the doctors for many reasons, ranging from the health of the child to economic situations to admitting that they either didn’t know or refused to accept that they were pregnant until it was too late. “It’s guilt no matter which way you go,” one desperate patient, whose child would be born with severe disabilities and would likely die within a year, tells Dr. Sella. “Guilt if you go ahead and do what we’re doing, or bring him into this world and then he doesn’t have any quality of life.” Although Shane and Wilson include footage of protestors, news reports, and congressional hearings, After Tiller is a powerful, deeply emotional documentary about the doctors and patients who must make impossible choices and live with their decisions for the rest of their lives. The BAM screening of the film — which raises fascinating, difficult questions for which there are no easy answers — will be followed by a panel discussion with Lady Parts Justice League founder Lizz Winstead, Planned Parenthood of New York City general counsel Meg Barnette, and executive producer Diane Max, moderated by Obvious Child cowriter and producer Elisabeth Holm. “Oscilloscope at Ten” continues through February 22 with Andrew Dosunmu’s Mother of George, Ciro Guerra’s Embrace of the Serpent, Diego Echeverria’s Los Sures, and a double feature of Yauch’s Awesome; I Fuckin’ Shot That! and Fight for Your Right Revisited.

Embrace of the Serpent takes viewers on an extraordinary journey into the heart of darkness and beyond

EMBRACE OF THE SERPENT (EL ABRAZO DE LA SERPIENTE) (Ciro Guerra, 2015)
Wednesday, February 21, $15, 9:00
www.bam.org
embraceoftheserpent.oscilloscope.net

Colombian writer-director Ciro Guerra takes viewers on a spectacular journey through time and space and deep into the heart of darkness in the extraordinary Embrace of the Serpent. Guerra’s Oscar-nominated film, the first to be shot in the Colombian Amazon in thirty years, opens with a 1909 quote from explorer Theodor Koch-Grünberg: “It is not possible for me to know if the infinite jungle has started on me the process that has taken many others to complete and irremediable insanity.” Inspired by the real-life journals of Koch-Grünberg and botanist and explorer Richard Evans Schultes, Guerra poetically shifts back and forth between two similar trips down the Vaupés River, both led by the same Amazonian shaman, each time guiding a white scientist on a perilous expedition in a long, narrow canoe. Shortly after the turn of the twentieth century, ailing white ethnologist Theo (Jan Bijvoet) and his native aid, Manduca (Yauenkü Migue), seek the help of Karamakate (Nilbio Torres), a shaman wholly suspicious of whites and who believes he is the last of his tribe. However, Theo claims he knows where remnants of Karamakate’s people live and will show him in return for helping him find the magical and mysterious hallucinogenic Yakruna plant that Theo thinks can cure his illness. Forty years later, white botanist Evan (Brionne Davis) enlists Karamakate (Antonio Bolívar Salvador) to locate what is thought to be the last surviving Yakruna plant, which he hopes will finally allow him to dream in order to heal his soul. Evoking such films as Werner Herzog’s Fitzcarraldo and Aguirre, the Wrath of God and Francis Ford Coppola’s Apocalypse Now, Embrace of the Serpent makes the rainforest itself a character, shot in glorious black-and-white by David Gallego (Cecilia, Violencia) in a sparkling palette reminiscent of the work of Brazilian photographer Sebastião Salgado. As the parallel stories continue, the men encounter similar locations that have changed dramatically over time, largely as a result of rubber barons descending on the forest and white missionaries bringing Western religion to the natives. It’s difficult to watch without being assailed by imperialist concepts of the “noble savage,” mainly because the Amazon — and our Western minds — have been so profoundly affected by those ideas. “Before he can become a warrior, a man has to leave everything behind and go into the jungle, guided only by his dreams,” the older Karamakate says. “In that journey he has to discover, completely alone, who he really is.”

Guide Karamakate (Antonio Bolívar Salvador) and botanist Evan (Brionne Davis) explore dreams in Ciro Guerra’s Embrace of the Serpent

Winner of the Directors’ Fortnight Art Cinema Award at the Cannes Film Festival and nominated for a Best Foreign Language Film Academy Award, Embrace of the Serpent is an unforgettable spiritual quest into the ravages of colonialism, the evils of materialism, the end of indigenous cultures, and what should be a sacred relationship between humanity and nature. Written by Guerra (2004’s Wandering Shadows, 2009’s The Wind Journeys) and Jacques Toulemonde (Anna), it is told from the point of view of the indigenous people of the Amazon, whom Guerra worked closely with in the making of the film, assuring them of his intentions to not exploit them the way so many others have. Aside from the Belgian Bijvoet and the Texan Davis, the rest of the cast is made up of members of tribes that live along the Vaupés. Guerra actually brought along a shaman known as a payé to perform ritual ceremonies to ensure the safety of the cast and crew and to protect the jungle itself. “What Ciro is doing with this film is an homage to the memory of our elders, in the time before: the way the white men treated the natives, the rubber exploitation,” Torres, in his first movie, says about the film. “I’ve asked the elders how it was and it is as seen in the film; that’s why we decided to support it. For the elders and myself it is a memory of the ancestors and their knowledge.” Salvador, who previously had bad experiences with filmmakers, notes, “It is a film that shows the Amazon, the lungs of the world, the greater purifying filter, and the most valuable of indigenous cultures. That is its greatest achievement.” Embrace of the Serpent is a great achievement indeed, an honest, humanistic, maddening journey that takes you places you’ve never been. Embrace of the Serpent is screening February 21 in the BAMcinématek series “Oscilloscope at Ten.”

INGMAR BERGMAN CENTENNIAL RETROSPECTIVE: THE MAGICIAN

A traveling troupe of illusionists is forced to defend itself in Ingmar Bergman’s The Magician

THE MAGICIAN (ANSIKTET) (Ingmar Bergman, 1958)
Film Forum
209 West Houston St.
Friday, February 16, 2:00, 6:00, 10:00; Saturday, February 17, 4:20, 8:15; Sunday, March 4, 12:30
Series runs February 7 – March 15
212-727-8110
filmforum.org

Film Forum’s Ingmar Bergman Centennial Retrospective continues with Bergman’s darkly comic 1958 film The Magician, one of the Swedish auteur’s lesser-known, underrated masterpieces, an intense yet funny, and fun, work about art, science, faith, death, and the power of the movies themselves. When Vogler’s Magnetic Health Theater comes to town, the local triumvirate of Dr. Vergérus (Gunnar Björnstrand), police commissioner Starbeck (Toivo Pawlo), and Consul Egerman (Erland Josephson) brings the traveling troupe in for questioning, forcing them to spend the night as guests in Egerman’s home. The three men seek to prove that mesmerist Albert Emanuel Vogler (Max von Sydow), his assistant, Mr. Aman (Ingrid Thulin), a witchy grandmother (Naima Wifstrand), and their promoter, Tubal (Åke Fridell), are a bunch of frauds. The interrogations delve into such Bergmanesque topics as science vs. reason, good vs. evil, life and death, and the existence of God. As various potions are dispensed to and tricks played on a staff that includes maid Sara (Bibi Andersson), cook Sofia Garp (Sif Ruud), and stableman Antonsson (Oscar Ljung) in addition to Starbeck’s wife (Ulla Sjöblom) and Egerman’s spouse (Gertrud Fridh), a series of romantic rendezvous take place, along with some genuine horror, leading to a thrillingly ambiguous ending.

Max von Sydow is mesmerizing as mesmerist and Ingmar Bergman alter ego Albert Emanuel Vogler in The Magician

Von Sydow is mesmerizing as the mesmerist, a silent, brooding man in a sharp beard and mustache, his penetrating eyes a character all their own. (The original title of the film is Ansiktet, which means “Face.”) His showdowns with Dr. Vergerus serve as Bergman’s defense of the art of film itself, an illusion of light and shadow and suspension of belief. Meanwhile, Tubal and wandering drunk Johan Spegel (Bengt Ekerot) add comic relief and a needed level of absurdity to the serious proceedings. The film is superbly shot in black-and-white by cinematographer Gunnar Fischer, maintaining an appropriately creepy and mysterious look throughout. It also introduces character names into Bergman’s canon, appellations such as Vogler, Vergérus, and Egerman, that will show up again in such future works as Persona (with Liv Ullmann as actress Elisabet Vogler, who has stopped speaking, and Björnstrand as Mr. Vogler), Hour of the Wolf (with Thulin as Veronica Vogler, a former lover haunting von Sydow’s painter Johan Borg), Fanny and Alexander (with Jan Malmsjö as Bishop Edvard Vergérus), and After the Rehearsal (with Josephson as theater director Henrik Vogler and Lena Olin as actress Anna Egerman). Winner of the Special Jury Prize at the 1959 Venice Film Festival, The Magician is screening February 16-17 and March 4 in Film Forum’s fab Bergman series, which keeps providing magic through March 15 with such other treasures as Shame, Persona, The Virgin Spring, Smiles of a Summer Night, The Passion of Anna, and The Touch (with Elliott Gould!).

TICKET ALERT: FORCE MAJEURE / THE SQUARE DOUBLE FEATURE WITH RUBEN ÖSTLUND

A close-knit Swedish family is about to face a serious crisis in Ruben Östlund’s Force Majeure

FORCE MAJEURE (Ruben Östlund, 2014)
THE SQUARE (Ruben Östlund, 2017)
Scandinavia House
58 Park Ave. at 38th St.
Tuesday, February 20, $20, 4:00
212-847-9740
www.scandinaviahouse.org
www.magpictures.com

After three skiing films and two documentaries, Swedish writer-director Ruben Östlund experienced near-instant success with his fiction work, which has included five features and two shorts since 2004, earning him numerous international awards. Scandinavia House will be honoring the Styrsö native on February 20 with a double feature of his two latest gems, Force Majeure, which was shortlisted for a Best Foreign Language Film Oscar, and The Square, which is competing for the award at this year’s Oscars. Östlund will be at the Park Ave. cultural institution for a Q&A following The Square, which won the coveted Palme d’Or at Cannes. First up at 4:00 is Force Majeure, one of the best films you’ll ever hear. Not that Fredrik Wenzel’s photography of a lovely Savoie ski resort and Ola Fløttum’s bold, classical-based score aren’t stunning in their own right, but Kjetil Mørk, Rune Van Deurs, and Jesper Miller’s sound design makes every boot crunching on the snow, every buzzing electric toothbrush, every ski lift going up a mountain, every explosion setting off a controlled avalanche a character unto itself, heightening the tension (and black comedy) of this dark satire about a family dealing with a crisis. On the first day of their five-day French Alps vacation, workaholic Tomas (Johannes Bah Kuhnke) and his wife, Ebba (Lisa Loven Kongsli), are enjoying lunch on an outdoor veranda with their small children, Harry (Vincent Wettergren) and Vera (Clara Wettergren), when a potential tragedy comes barreling at them, but in the heat of the moment, while Ebba instantly seeks to protect the kids, Tomas runs for his life, leaving his family behind. After the event, which was not as bad as anticipated, the relationship among the four of them has forever changed, especially because Tomas will not own up to what happened. Even Harry and Vera (who are brother and sister in real life) know something went wrong that afternoon and are now terrified that their parents will divorce. But with Tomas unwilling to talk about his flight response, Ebba starts sharing the story with other couples, including their hirsute friend Mats (Kristofer Hivju) and his young girlfriend, Fanni (Fanni Metelius), who are soon arguing in private about what they would do in a similar situation.

There might be no going back in beautiful-looking and -sounding Swedish satire

Winner of the Jury Prize in the Un Certain Regard sidebar of the Cannes Film Festival and the Swedish entry for the 2014 Academy Award for Best Foreign Language Film, Force Majeure is a blistering exploration of human nature, gender roles, and survival instinct. The often uncomfortable and utterly believable tale, inspired by a real-life event in which friends of Östlund’s were attacked by gunmen, recalls Julia Loktev’s The Loneliest Planet, in which an engaged couple encounter serious trouble and their immediate, individual reactions change their dynamic. Östlund (Play, Involuntary), who was also influenced by statistics that show that more men survive shipwrecks than women and children on a percentage basis, often keeps dialogue at a minimum, revealing the family’s growing predicament by repeating visuals with slight differences, from the way they sleep in the same bed to how they brush their teeth in front of a long mirror to the looks on their faces as they move along a motorized walkway in a tunnel at the ski resort. The ending feels forced and confusing, but everything leading up to that is simply dazzling, a treat for the senses that is impossible not to experience without wondering what you would do if danger suddenly threatened you and your loved ones.

Ann (Elisabeth Moss) and Christian (Claes Bang) discuss more than just art in Ruben Östlund’s The Square

The plot of Östlund’s 2014 absurdist satire, Force Majeure, turns on a man’s momentary act of surprising cowardice when an avalanche threatens him and his family at a ski resort. In the Swedish writer-director’s absurdist satire The Square, screening at 6:30 at Scandinavia House, the plot is set in motion when a man’s momentary act of surprising bravery leads him into a spiral of personal and professional chaos. The Tesla-driving chief curator of the fictional X-Royal contemporary art museum in Sweden, Christian (Claes Bang) is walking through a busy plaza when he hears a woman crying for help as bystanders do nothing. After his initial hesitation, Christian intervenes and is ultimately quite pleased with himself and his decision to do the right thing — until, a few moments later, he realizes he’s been robbed. Back at the museum, Christian listens to a pair of millennial marketers pitching their campaign for the institution’s upcoming exhibit, “The Square,” which is highlighted by a four-meter-by-four-meter square positioned on the cobblestones in the museum’s front courtyard. An accompanying plaque reads, “‘The Square’ is a sanctuary of trust and caring. Within it we all share equal rights and obligations.” As the museum contemplates a cutting-edge ad campaign for the exhibit, Christian has to deal with an arts journalist, an angry kid, the museum board, and his own moral decisions.

Oleg (Terry Notary) takes performance art to another level in The Square

The film opens as Christian is being interviewed by Ann (Elisabeth Moss) in a gallery, in front of a neon wall sign that says, “You have nothing.” Later, the sign says, “You have everything.” This dichotomy is central to Christian’s inner dilemma; he seemingly does have everything, but his world is slowly shattering, just like the artworks heard crashing to the ground later while he is in a deep personal discussion with Ann. Östlund skewers the art world, political correctness, class conflict, freedom of speech, privileged social groups, and the concept of “safe spaces” in the film, which was inspired by a real exhibition by Östlund and producer Kalle Boman that ran at the Vandalorum Museum in Sweden in 2015. Immediately following the opening interview, which reveals Ann has no feel whatsoever for contemporary art, workers remove the statue of King Karl XIV Johan that stands in front of the museum; on the base is his royal motto, “The love of the people my reward.” As the monument is being taken off its plinth, the crane drops it and the king’s head falls off. “The Square” takes its place, signaling the old being replaced by the new, physical objects replaced by lofty ideals, with an utter disregard for what has come before. Östlund (The Guitar Mongoloid, Incident by a Bank) is not above making such obvious analogies and references, including naming his protagonist Christian, a man who spends much of the film attempting to do what he considers the right thing. (Östlund, who also edited the film with Jacob Secher Schulsinger, has said that “The Square” installation is a place where the Golden Rule and the Universal Declaration of Human Rights should take precedence.)

Wriet-director Ruben Östlund (standing) on the set of The Square

Writer-director-editor Ruben Östlund (standing) on the set of The Square

The film focuses on the issue of trust, and particularly how humans lose their ability to have faith in others as they mature. At the entrance to the “Square” installation, visitors are given the option of deciding between two paths, one marked “I Trust People,” the other “I Mistrust People.” Christian’s two daughters both take the former. The older daughter is a cheerleader, showing trust in her teammates as the girls are tossed high in the air and wait to be caught — but not without several men hovering right behind them to try to prevent any possible falls. The difference between childhood and adulthood is also evident in how Christian deals with a determined young boy in trouble because of the divorced curator. Bang is stoic as Christian, a man who feels more at home among works of art than with other people. He wants so desperately to be good, but it’s getting harder and harder to make the right decision in the current politically correct atmosphere, and he is so self-absorbed that he even fights over possession of a used condom, in one of the film’s most bizarrely comic moments. Those choices come to the fore in two wildly uncomfortable scenes involving an American artist named Julian (Dominic West), first at a public Q&A where he is bedeviled by an audience member with Tourette syndrome, and later at a gala fundraiser where a bare-chested performer (motion-capture actor Terry Notary) moves around the luxurious room, acting like an ape, but as he begins breaking physical and socially acceptable boundaries, no one knows how to react. (His acting like an ape is in direct contrast to Ann’s roommate, an ape who is far more civilized and is never commented on.) Both situations frustrate the viewer as well, as we are as hamstrung as the people in the film, all of us experiencing the bystander effect together. And the mood is further joyfully complicated by the lighthearted, satiric music. Despite a few minor missteps, The Square is a searingly intelligent exploration, and condemnation, of where humanity stands as a society in the twenty-first century, fearful of our every move, searching for that imaginary safe space where we can live and breathe freely with our fellow beings, consequences be damned.