Zanele Muholi, “Faces and Phases,” installed at dOCUMENTA (13), Kassel, Germany, 2012 (photo © Anders Sune Berg)
Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, June 6, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org
The June installment of the Brooklyn Museum’s free First Saturday program celebrates LGBTQ Pride, with live performances by the New York City Gay Men’s Chorus, Aye Nako, DJ Lynnee Denise, DJ Ilsa, and Junglepussy with DJ Joey Labeija; an exhibition talk by Jess Wilcox on “Zanele Muholi: Isibonelo/Evidence” and ten-minute pop-up gallery talks about “Diverse Works: Director’s Choice, 1997–2015”; a flag-making workshop; a poetry performance by Dark Matter (Alok Vaid-Menon and Janani Balasubramanian); a literary workshop with bklyn boihood, focusing on its upcoming publication, Outside the XY; screenings of Seyi Adebanjo’s 2013 documentary, Trans Lives Matter! Justice for Islan Nettles, followed by a talkback with the director, and Dan Sickles & Antonio Santini’s 2014 film, Mala Mala, followed by a talkback with the directors and cast memebers Paxx and Joyce Puty; and a tribute to retiring museum director Arnold Lehman, with reflections and performances by DapperQ, Visual Aids, Harriett’s Apothecary, Haiti Cultural Exchange, CaribBEING, Afrika 21/Harriet’s Alter Ego, and Balmir Latin Dance. In addition, you can check out such exhibitions as “Basquiat: The Unknown Notebooks,” “Kehinde Wiley: A New Republic,” “Kara Walker: ‘African Boy Attendant Curio (Bananas),’” and “Chitra Ganesh: Eyes of Time.”
Three-time loser Skip McCoy (Richard Widmark) gets more than he bargained for when he lifts femme fatale Candy’s (Jean Peters) wallet on the subway, landing him in trouble with mysterious Joey (Richard Kiley) and the Feds in Samuel Fuller’s fab Cold War noir set in New York City. “If you refuse to cooperate, you’ll be as guilty as the traitors that gave Stalin the A bomb,” the cops tell him, to which Skip classically replies, “Are you waving the flag at me?” Widmark is almost too good as Skip, a suave pickpocket who lives under the Brooklyn Bridge in an old bait and tackle shack. Sure, it gets a little melodramatic at the end, which comes too soon (the film is only eighty minutes long), but it’s worth every minute nonetheless. And yes, that is Brooklyn’s own Thelma Ritter as the curious little lady who sells ties for information, earning her fourth consecutive Oscar nomination for Best Supporting Actress. One of Fuller’s best, Pickup on South Street is screening at Film Forum in a new 4K restoration May 29 to June 4.
Josh and Benny Safdie’s Heaven Knows What is a harrowing tale about addiction and obsession, but it turns out that its back story is much more compelling than what shows up onscreen. Josh was researching a film about the Diamond District when he came upon Arielle Holmes, a nineteen-year-old temp assistant. He was determined to find out more about her and shortly discovered that she was a homeless junkie with a wild, unpredictable druggie boyfriend, Ilya. Josh and Benny, who had previous collaborated on such indie features as The Pleasure of Being Robbed and Daddy Longlegs and the documentary Lenny Cooke, commissioned Holmes to write her story, and she quickly delivered 150 pages that ultimately inspired the film, in which Holmes plays Harley, a young heroin addict living on the streets of New York City, spanging money (begging for spare change) for her next fix while in a combative relationship with Ilya (Caleb Landry Jones). Harley has done something to alienate Ilya, and she says she will kill herself to prove her love and devotion. He tells her to go ahead and do it, so she slits one of her wrists and is rushed to the hospital. That sets the stage for the rest of the lurid and sordid narrative, as Haley bounces between the cruel Ilya and her drug dealer, the far more easygoing and mellow Mike (real-life street legend Buddy Duress in his acting debut); she is also followed around by Skully (rapper Necro), who wants to save her from herself but is clearly in no position to do so.
Winner of the Silver Lion at the 1955 Venice Film Festival, Michelangelo Antonioni’s sublimely marvelous Le Amiche follows the life and loves of a group of oh-so-fabulous catty, chatty, and ultra-fashionable Italian women and the men they keep around for adornment. Returning to her native Turin after having lived in Rome for many years, Clelia (Eleonora Rossi Drago) discovers that the young woman in the hotel room next to hers, Rosetta (Madeleine Fischer), has attempted suicide, thrusting Clelia into the middle of a collection of self-centered girlfriends who make the shenanigans of George Cukor’s The Women look like child’s play. The leader of the vain, vapid vamps is Momina (Yvonne Furneaux), who carefully orchestrates situations to her liking, particularly when it comes to her husband and her various, ever-changing companions, primarily architect Cesare (Franco Fabrizi). As Rosetta falls for painter Lorenzo (Gabriele Ferzetti), who is married to ceramicist Nene (Valentina Cortese), Clelia considers a relationship with Cesare’s assistant, Carlo (Ettore Manni), and the flighty Mariella (Anna Maria Pancani) considers just about anyone. Based on the novella Tra Donne Sole (“Among Only Women”) by Cesare Pavese, Le Amiche is one of Antonioni’s best, and least well known, films, an intoxicating and thoroughly entertaining precursor to his early 1960s trilogy, L’Avventura, La Notte, and L’Eclisse. Skewering the not-very-discreet “charm” of the Italian bourgeoisie, Antonioni mixes razor-sharp dialogue with scenes of wonderful ennui, all shot in glorious black and white by Gianni Di Venanzo.
