A beekeeping family tries to hold it all together in THE WONDERS
THE WONDERS (LE MERAVIGLIE) (Alice Rohrwacher, 2014)
Lincoln Plaza Cinema
1886 Broadway at 63rd St.
Opens Friday, October 30
212-757-2280
www.lincolnplazacinema.com
lemeraviglie.mymovies.it
Winner of the Grand Prix at the Cannes Film Festival, Alice Rohrwacher’s The Wonders is a sweet little gem of a movie, focusing on a German-Italian family that finds itself at a critical crossroads. Set in Rohrwacher’s (Corpo celeste) hometown in the countryside between Umbria-Lazio and Tuscany, the film follows the travails of a beekeeping family led by the gangly Wolfgang (Sam Louwyck), a grumpy ne’er-do-well from one of the Germanic countries who is trying to live some kind of back-to-the-land life away from authorities in an undeveloped backwater. His allegiance to old-fashioned tradition includes overworking his four young daughters while his wife, Angelica (Alba Rohrwacher, the director’s older sister), keeps at a distance and live-in friend Cocò (Sabine Timoteo) keeps stirring up the pot. At the center of it all is twelve-year-old Gelsomina (first-time actress Maria Alexandra Lungu, who was discovered in a catechism class), an exceptional beekeeper who wants her father to allow the family to participate in a television contest, Countryside Wonders, that could earn them much-needed money. But her father prefers taking care of things himself — though not very well, particularly when he acquires a camel for no apparent reason. Suspicious of the government and contemporary society, Wolfgang likes living in relative isolation; inviting strangers into their world could reveal the illegal working conditions, not to mention abuse of child labor laws. However, Gelsomina is determined to improve their existence, starting with the competition, which is hosted by the beguiling, fairy-tale-like Milly Catena (Monica Bellucci in a marvelous white head piece, partially poking fun at her own sex-symbol image).
Propelled by Lungu’s beautifully gentle performance, which captures the essence of so many basic childhood dilemmas, The Wonders is a warm, tender-hearted film, one that keeps buzzing even if it lacks a big sting, a coming-of-age drama not only for Gelsomina but for the family as a whole. Photographed in a neorealist style by Hélène Louvart, the film is about tradition and change, about the city and the country, about the old and the new, about what home means, and, yes, about bees and honey; there are no trick shots or special effects when it comes to the actors working with beehives and swarms. “The parents of Maria Alexandra Lungu were very happy,” the director states in the film’s press kit. “They said that if the film wouldn’t work out, at least their daughter learned a real skill and could become a beekeeper!” The Wonders, which was a selection of the fifty-second New York Film Festival, opens October 30 at Lincoln Plaza.
Award-winning French actor-director Mathieu Amalric is celebrating his fiftieth birthday with an exciting invasion of New York City, where he is being honored in a pair of terrific companion film series and will also star in a theatrical production. FIAF’s CinéSalon tribute runs on Tuesday nights through December 15, beginning November 3 with a screening of his 2014 film 
FIAF’s CinéSalon series “Theater & Cinema” concludes October 27 with François Truffaut’s powerful Oscar-nominated WWII melodrama, The Last Metro. Set in Vichy France during the German occupation, the film takes place in and around the Théâtre Montmartre, which has been taken over by movie-star actress (and non-Jew) Marion Steiner (Catherine Deneuve) after her husband, Jewish theater director Lucas Steiner (Heinz Bennent), has apparently escaped the Nazi regime. But in fact Lucas is hiding out in the theater’s basement, where he has translated a Norwegian play, aptly titled Disappearance, and is directing it from below. The cast and crew of Disappearance include ladies’ man Bernard Granger (Gérard Depardieu) as Marion’s love interest; costume designer Arlette Guillaume (Andréa Ferréol), who refuses Bernard’s advances because of a secret reason; young actress Nadine Marsac (Sabine Haudepin), who will do just about anything to get parts; stage manager Raymond Boursier (Maurice Risch), who is deeply dedicated to the theater; and Jean-Loup Cottins (Jean Poiret), the stand-in director for Lucas. Only Marion knows where Lucas is, but danger grows when critic, publisher, and Nazi collaborator Daxiat (Jean-Louis Richard) starts sniffing around a little too much.
Unless you’re a dedicated fan of table tennis, you’ve never seen Ping-Pong played quite like this. In Top Spin, first-time feature-film documentarians Sara Newens and Mina T. Son follow a trio of young Americans through the tournaments necessary to qualify for the 2012 U.S. Olympic team and compete in the London Games. At sixteen, Fremont, California, native Ariel Hsing is the youngest women’s national champion, a two-wing attacker who calls both Bill Gates and Warren Buffet “Uncle.” Seventeen-year-old Mineola, New York–born Michael Landers is a two-wing looper who is the youngest men’s national champion. And Lily Zhang is a fifteen-year-old all-around attacker from Palo Alto and the world #2 in under-fifteen girls, usually finishing right behind Ariel. Director-editor Newens and director-producer Son speak extensively with the three players and their parents, coaches, teachers, trainers, and friends while counting down the days to each event, fierce competitions in which Ariel, Michael, and Lily play against opponents who are sometimes more than twice their age. They dedicate their lives to their Olympic dreams, spending large amounts of time away from school and their friends and family as they attempt to make the low-ranked American Olympic squad that has little chance for a medal, without even a high-paying professional league in their future. Yet they battle on, despite the heavy odds against them. Much of the Ping-Pong action is mind-blowing, particularly a late match in which Michael returns slam after slam with amazing acumen and accuracy. The film is executive-produced by Jonathan Bricklin and Franck Raharinosy, cofounders of SPiN, the Ping-Pong social club on East Twenty-Third St. that is partly owned by Susan Sarandon, who appeared in Michael Tully’s indie film 
