Michal (Noa Koler) is determined to get married even if she doesn’t have a fiancee in The Wedding Plan
THE WEDDING PLAN (Rama Burshtein, 2016)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
Opens Friday, May 12
www.theweddingplanmovie.com
www.quadcinema.com
A month before her wedding, Michal (Noa Koler) finds out that her fiance, Gidi (Erez Drigues), doesn’t actually love her. Determined to not become an old maid, the thirty-two-year-old animal handler decides that she is going to go through with the ceremony anyway, that love — and the right man — are still out there waiting for her. “I believe God will help me find a groom by the end of Hanukkah,” she tells wedding planner Shimi (Amos Tamam), who is not so sure she is making the right decision. She then goes on a series of ever-more-silly dates with Orthodox men as her wedding day approaches, with no legitimate suitor in sight as her friends and family wonder about her sanity. And then she meets singer Yoss (Oz Zehavi), but is he Mr. Right? By then, you might not care. Written and directed by New York City native Rama Burshtein (Fill the Void, Venice 70: Future Reloaded), The Wedding Plan, which is called Through the Wall in Hebrew, is a Lifetime-like romantic comedy, trying too hard to be charming and funny, resulting in flat scenes that are predictable and trite. Michal’s wedding day is scheduled for the eighth day of Hanukkah, which holds special meaning at the end of the Festival of Lights, a time for rejuvenation; The Wedding Plan could use some rejuvenating of its own.
Writer, actor, and former cabaret star Josef Hader gives a deeply intelligent, intensely gentle and thoughtful performance as Austrian writer Stefan Zweig in Maria Schrader’s moving biopic, Stefan Zweig: Farewell to Europe, opening May 12 at Lincoln Plaza. The episodic film follows the exiled Jewish writer as he and his second wife, Lotte (Aenne Schwarz), try to find a new home as Fascism takes hold across Europe. He is a man without a country, and it profoundly troubles him; he grows more and more brittle over the course of a prologue, four chapters, and an epilogue that follows him from Rio de Janeiro and Buenos Aires to Bahia, New York, and Petrópolis between 1936 and 1942. But none of them is his beloved Austria. “Apart from the personal joys your country has given me, apart from its beauty, its daring architecture . . . there is an even more powerful impression that I would like to share with you,” he tells Brazilian foreign minister José Carlos de MacedoSoares (Virgílio Castelo) and an adoring crowd gathered around a gorgeously designed long table for a celebration in his honor at the Jockey Club in Rio. “Every nation, in every generation — and therefore ours too — must find an answer to the most simple and vital question of all: How do we achieve a peaceful coexistence in today’s world despite all our differences in race, class, and religion? And it seems to me that Brazil has found an answer, even though not only its vegetation but also its population are more diverse in color than in Europe. Since my arrival in the Bay of Rio, it has seemed to me like a vision of the future,” he concludes. At the XIV International P.E.N. Congress in Buenos Aires, he is interviewed by reporters who almost demand that he take a public position on Adolf Hitler and events in Germany and Austria, but he refuses to speak ill of his native land. “Where is the line between literature and politics?” his rival, Emil Ludwig, asks from the podium, insisting it is the writer’s responsibility to cry out against injustice. When Belgian author Louis Piérard (Vincent Nemeth) then reads a list of names of banned writers, including Zweig’s, Zweig buries his face in his hands, refusing to claim a place as a martyr for the cause. (However, the newspapers claimed he was crying. “What a disgusting vanity fair,” he wrote to his first wife, portrayed in the film by Barbara Sukowa.)
Gillies Mackinnon’s Whisky Galore! follows in the tradition of such British charmers as Local Hero, Waking Ned Devine, and The Full Monty, another quirky tale of a small community coming together when facing unexpected challenges. It’s 1943, and WWII has not quite made it to the remote (and fictional) Scottish island of Todday, but you wouldn’t know it from the actions of Captain Wagget (Eddie Izzard), an English commander rigidly leading a ragtag unit of islanders just in case Hitler should attack. The town has gone dry, with no alcohol deliveries expected because of the war, putting a damper on everything, including celebrations; most importantly, postmaster Joseph Macroon (Gregor Fisher), a leader on the island, won’t allow his daughters, Catriona (Ellie Kendrick) and Peggy (Naomi Battrick), to marry their intendeds, schoolteacher George Campbell (Kevin Guthrie) and Sergeant Odd (Sean Biggerstaff), respectively, until they can have the proper party, with plenty of booze. George also faces the wrath of his Bible-thumping mother (Ann Louise Ross), who forbids him from marrying Peggy. In desperate need of drink, the town gets excited when a cargo ship runs aground just off the island, transporting tens of thousands of export-only alcohol for a cabinet minister. While Captain Waggett seeks to protect the bounty from thieves — his colleagues and neighbors — a group of thirsty islanders, including Joseph, George, Odd, Sammy (Iain Robertson), the Biffer (Antony Strachan), Old Roddy (Sean Scanlan), and Angus (Brian Pettifer), devise a plan to obtain the contraband whisky, right under Waggett’s nose.
From 1967 to 1975, a group of more than two dozen Swedish journalists came to America to document the civil rights movement. More than thirty years later, director and cinematographer Göran Hugo Olsson discovered hours and hours of unused 16mm footage — the material was turned into a program shown only once in Sweden and seen nowhere else — and developed it into The Black Power Mixtape 1967-1975, a remarkable visual and aural collage that focuses on the Black Panthers and the Black Power movement, a critical part of American history that has been swept under the rug. Olsson and Hanna Lejonqvist have seamlessly edited together startlingly intimate footage of such seminal figures as Eldridge Cleaver, Bobby Seale, Huey P. Newton, Dr. Martin Luther King, Jr., and Stokely Carmichael, including a wonderfully personal scene in which Carmichael interviews his mother on her couch. But the star of the film is the controversial political activist Angela Davis, who allowed the journalists remarkable access, particularly in a jailhouse interview shot in color. (Most of the footage is in black-and-white.) Davis also adds contemporary audio commentary, sharing poignant insight about that tumultuous period, along with Abiodun Oyewole of the Last Poets, singer Erykah Badu, professor, poet, and playwright Sonia Sanchez, Roots drummer Ahmir Questlove Thompson (who also composed the film’s score with Om’Mas Keith), and rapper Talib Kweli, who discusses specific scenes in the film with a thoughtful grace and intelligence. The Black Power Mixtape 1967-1975 is an extraordinary look back at a crucial moment in time that has long been misunderstood, if not completely forgotten, and has taken on new relevance with the rise of the Black Lives Matter movement. The film kicks off the IFC Center series “Queer/Art/Film: Summer of Resistance” on May 8 at 8:00 and will be followed by a discussion with 