this week in film and television

VIRUNGA

VIRUNGA

Park ranger Andre Bauma risks his life to care for mountain gorillas in Oscar-nominated VIRUNGA

VIRUNGA (Orlando von Einsiedel, 2014)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, January 30
212-924-3363
www.virungamovie.com
www.cinemavillage.com

Nominated for an Oscar for Best Documentary, Orlando von Einsiedel’s gripping Virunga is back on the big screen, in a return engagement at Cinema Village. In his debut feature, von Einsiedel, who previously made short documentaries about skateboarders in Kabul, young women knitting in Nigeria, and illegal fishing in Sierra Leone, originally set out to make a heartwarming story about a group of rangers caring for the mountain gorillas and natural environment of Virunga National Park in the eastern Congo. But as the civil war ramped up, he found himself in the middle of a fierce life-and-death struggle involving the criminal exploitation of the UNESCO world heritage site. As the London-based SOCO International moves in to prepare to drill for oil illegally, von Einsiedel starts following the money, uncovering a series of payoffs being tracked by French journalist Melanie Gouby. Meanwhile, ranger Andre Bauma cares for orphan mountain gorillas Ndeze, Nkadasi, Maisha, and Koboko, protecting them and other animals from poachers who want to sell their body parts — or kill them outright so the government won’t need to preserve the park just to save any wildlife.

VIRUNGA

French journalist Melanie Gouby risks her life to uncover the truth about what is happening in Virunga National Park

Virunga begins with the funeral of a ranger named Kasereka, one of more than 130 rangers who have been killed in the line of duty “trying to rebuild this country” during the ongoing civil war. Von Einsiedel follows that with a brief history of European colonization of Africa, which led to so much of the violence and the exploitation of the continent’s rich natural resources. But things take an even more drastic turn when Congolese rebels, the newly formed M23, start heading toward the park, leaving a bloodbath in their wake. Rodrigue Mugaruka Katembo, the head ranger and warden of the Rwindi Sector, and Belgian anthropologist Dr. Emmanuel de Mérode, chief warden of the park, are not about to let SOCO, the rebels, and local officials corrupted by bribes simply march in and take over. A Netflix original that includes Leonardo DiCaprio as one of its executive producers — all proceeds from the film go back into the park — Virunga is set up like an action-adventure thriller, with segments that are hard to believe are real and not re-created or dramatized for emotional impact. But it’s all true, from Gouby’s dangerous undercover work to von Einsiedel’s dodging of bombs and bullets, as a group of brave men and women are determined to expose the truth that so many have turned their backs on in order to line their pockets. In many ways, the film evokes Gillo Pontecorvo’s fictionalized classic The Battle of Algiers, depicting the horrific effects of colonization, but in this case it’s unfolding for real. Photographed by von Einsiedel and Franklin Dow, the film also features gorgeous shots of Virunga National Park, one of the most beautiful places on earth.

DANCE ON CAMERA — BORN TO FLY: ELIZABETH STREB vs. GRAVITY

Jackie

Documentary reveals how Elizabeth Streb and her Extreme Action Company (including Jackie Carlson, seen here) take dance to a whole new level

BORN TO FLY: ELIZABETH STREB vs. GRAVITY (Catherine Gund, 2014)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Sunday, February 1, 3:20
Festival runs January 30 – February 3
212-875-5050
www.filmlinc.com
www.borntoflymovie.com

Over the last several years, New Yorkers have gotten the chance to see Elizabeth Streb’s Extreme Action Company perform such dazzling works as Ascension at Gansevoort Plaza, Kiss the Air! at the Park Avenue Armory, and Human Fountain at World Financial Center Plaza as her team of gymnast-dancer-acrobats risk their physical well-being in daring feats of strength, stamina, durability, and grace. In addition, Streb herself walked down the outside wall of the Whitney as part of a tribute to one of her mentors, Trisha Brown. Now Catherine Gund takes viewers behind the scenes in the exhilarating documentary Born to Fly: Elizabeth Streb vs. Gravity, going deep into the mind of the endlessly inventive and adventurous extreme action architect and the courage and fearlessness of her company. Gund follows Streb as she discusses her childhood, her dance studies, the formation of STREB in 1985, and her carefully thought out views on space, line, and movement as her work stretches the limits of what the human body can do. “I think my original belief and desire is to see a human being fly,” Streb says near the beginning of the film, which includes archival footage of early performances, family photos, and a warm scene in which the Rochester-born Streb and her partner, Laura Flanders, host a dinner party in their apartment, cooking for Bill T. Jones, Bjorn Amelan, Anne Bogart, Catharine Stimpson, and A. M. Homes. Gund also speaks with current and past members of the talented, ever-enthusiastic company — associate artistic director Fabio Tavares, Sarah Callan, Jackie Carlson, Leonardo Giron, Felix Hess, Samantha Jakus, Cassandre Joseph, John Kasten, and Daniel Rysak — who talk about their dedication to Streb’s vision while using such words as “challenge,” “velocity,” “endurance,” “magic,” “invincibility,” and “risk” to describe what they do and how they feel about it.

Elizabeth Streb

Elizabeth Streb and her partner, Laura Flanders, prepare for a dinner party in new documentary

Gund focuses on the latter, as virtually every one of Streb’s pieces is fraught with the possibility of serious injury, as evidenced by their titles alone: Fly, Impact, Rebound, Breakthru, and Ricochet, not to mention the use of such materials as spinning I-beams, plastic barricades, dangling harnesses, and a rotating metal ladder. “I have to be able to ask someone to do that and be okay about it. Those aren’t easy requests,” Streb explains. “Knowing where you are is how you survive the work,” adds former STREB dancer Hope Clark. Gund goes with Streb to her doctor, where the choreographer describes what happened to her gnarled feet, and also meets with former dancer DeeAnn Nelson Burton, who had to retire after breaking her back. The film concludes with an inside look at STREB’s spectacular “One Extraordinary Day,” a series of hair-raising site-specific events staged for the 2012 London Olympics at such locations as the Millennium Bridge, the London Eye, and the sphere-shaped city hall, photographed by documentary legend Albert Maysles. In her Kickstarter campaign, Gund (Motherland Afghanistan, A Touch of Greatness) said, “Action architect Elizabeth Streb has reinvented the language of movement. [Born to Fly] will rewrite the language of documentary.” That’s a bold declaration, but the film does have a lot of the same spirit that Streb displays in her awe-inspiring work. Born to Fly is screening with Benjamin Epps’s 2014 short, Angsters, on February 1 at 3:20 at the Walter Reade Theater as part of the Film Society of Lincoln Center’s annual “Dance on Camera” series and will be followed by a Q&A with Gund and Streb. The festival runs January 30 – February 3 and includes such other movement-related works as Meredith Monk’s Girlchild Diary, followed by a Q&A with Monk and cast member Lanny Harrison; Kenneth Elvebakk’s Ballet Boys, set at the Norwegian Ballet School; Louis Wallecan’s Dancing Is Living: Benjamin Millepied, followed by a Q&A with the director; the U.S. premiere of Don Kent and Christian Dumais-Lvowski’s Jiri Kylian: Forgotten Memories; Isaki Lacuesta’s Perpetual Motion: The History of Dance in Catalonia, followed by a Q&A with choreographer Cesc Gelabert; and a handful of free events as well.

NEW YORK JEWISH FILM FESTIVAL CLOSING NIGHT: FELIX AND MEIRA

FELIX AND MEIRA

Meira (Hadas Yaron) takes a long, hard look at her life in Maxime Giroux’s FELIX AND MEIRA

FELIX AND MEIRA (FÉLIX ET MEIRA) (Maxime Giroux, 2014)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Thursday, January 29, 3:30 & 9:00
Festival runs through January 29
212-875-5050
www.filmlinc.com

The 2015 New York Jewish Film Festival comes to a close on January 29 with Maxime Giroux’s somber, reflective Félix and Meira. Named Best Canadian Feature at the Toronto International Film Festival, the film stars Israeli actress Hadas Yaron as Meira, a young married woman who is feeling trapped by the constraints of the Hasidic world in which she lives in Montreal’s Mile End district. Her husband, Shulem (Luzer Twersky), is a devout man who follows the tenets of his religion; he and Meira sleep in separate beds, and he seems more intent on ritualistically washing his hands in the bedroom than touching his wife. One morning, while pushing her daughter in a stroller, she is approached by Félix (Martin Dubreuil), a conflicted man whose father just died so he is seeking advice about God and death. Meira tells him to leave them alone, but soon Félix and Meira are meeting in secret, and when Shulem finds out about it, he ships Meira off to Brooklyn. Félix goes after her, wanting to take their relationship to the next level as Meira considers her responsibilities to her husband, her daughter, and herself.

FELIX AND MEIRA

Félix (Martin Dubreuil) and Meira (Hadas Yaron) are both looking for something more in Canadian drama set in Hasidic world

Félix and Meira is a subtle, slow-moving tale that avoids genre clichés, keeping the details tantalizingly vague and mysterious. There’s not a lot of humor in the film; instead, there’s an ominous, moody cloud hanging over everything, the story bordering just on the edge of passion without ever exploding. Yaron (Fill the Void) plays Meira with a dark foreboding, while Dubreuil (Bunker, Ressac) and Twersky (Romeo and Juliet in Yiddish, Where Is Joel Baum?) work well as adversaries who want Meira in their life, albeit for different reasons. Cowriter and director Giroux (Demain, Jo pour Jonathan) doesn’t force any issues, maintaining a low-key approach that is intensified by an overall palette of blacks, whites, and grays. Félix and Meira is the closing-night selection of the New York Jewish Film Festival, screening on January 29 at 3:30 and 9:00 at the Walter Reade Theater, with each show followed by a Q&A with Giroux and members of the cast.

TICKET GIVEAWAY: DAVID GARRETT AND THE DEVIL’S VIOLINIST

Who: David Garrett, world’s fastest violinist
What: Celebration of the U.S. theatrical release of The Devil’s Violinist (Bernard Rose, 2013) and the accompanying soundtrack album, Garrett vs. Paganini (Decca/Universal), matinee screening followed by a Q&A and live performance by David Garrett
Where: Quad Cinema, 34 West 13th St., 212-255-2243
When: Sunday, February 1, free ticket giveaway below, 3:25
Why: German-born crossover musician David Garrett has been playing violin since the age of four; he makes his film debut in The Devil’s Violinist, starring as nineteenth-century Italian violin virtuoso, composer, and womanizer Niccolò Paganini, with Jared Harris as Urbani, Joely Richardson as Ethel Langham, and Christian McKay as John Watson, written and directed by Bernard Rose (Candyman, Immortal Beloved, The Kreutzer Sonata), opening at the Quad and on VOD January 30; the album, which also features Andrea Bocelli and Nicole Scherzinger, releases January 27.

TICKET GIVEAWAY: International superstar David Garrett will be at the Quad on Sunday, February 1, for a special Q&A and live performance following the 3:25 screening of The Devil’s Violinist, and twi-ny has three pairs of tickets to give away for free, along with CDs of the Garrett vs. Paganini album. Just send your name, daytime phone number, and the name of your favorite classical composer to contest@twi-ny.com by Thursday, January 29, at 3:00 to be eligible. All entrants must be twenty-one years of age or older; three winners will be selected at random.

NEW YORK JEWISH FILM FESTIVAL: THE GO-GO BOYS

THE GO-GO BOYS

Documentary looks into the life and career of Menahem Golan and Yoram Globus

THE GO-GO BOYS: THE INSIDE STORY OF CANNON FILMS (Hilla Medalia, 2014)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Thursday, January 29, 1:00 & 6:15
Festival runs through January 29
212-875-5050
www.filmlinc.com
www.facebook.com

At the beginning of The Go-Go Boys: The Inside Story of Cannon Films, director Hilla Medalia asks Menahem Golan, “How do you become a filmmaker?” He answers, “Don’t do anything else.” For most of his life, that is exactly what Golan did. He started out making movies as a kid, then went into business with his cousin, Yoram Globus. The Israeli dynamic duo formed quite a pair, Golan the outgoing, bombastic, viciously driven writer, director, and producer, Globus the behind-the-scenes moneyman and dealmaker. The Go-Go Boys documents their careers as they first succeed in Israel with such movies as Eldorado and Sallah Shabati, the latter starring Topol and earning an Oscar nomination for Best Foreign Language Film, then setting off to take over Hollywood, where in 1979 they bought Cannon Films, specializing in the rapid-fire release of low-budget schlock and exploitation pictures. All told, Golan and Globus made more than two hundred films, from Death Wish II with Charles Bronson and American Ninja with Michael Dudikoff to Missing in Action and The Delta Force with Chuck Norris and New Year’s Evil with Roz Kelly, from King Solomon’s Mines with Richard Chamberlain and Sharon Stone and The Last American Virgin to John Cassavetes’s Love Streams and John Derek’s Bolero with Bo Derek. Golan and Globus are perhaps most well known for their biggest failures: The Apple, considered one of the worst films ever made; Over the Top, in which they overspent and overreached with Sylvester Stallone in a misguided mess about arm wrestling; and Superman IV: The Quest for Peace, which led to their ultimate downfall.

Israeli cousins Menahem Golan and Yoram Globus were the kings of Hollywood for a short period

Israeli cousins Menahem Golan and Yoram Globus sought to become the kings of Hollywood — and did for a while

Both Golan and Globus sit down for new interviews with Medalia, who also speaks with Joel Silberg, whose Breakin’ firmly established the duo as real players; Israeli actors Yehuda Barkan (Lupo Goes to New York) and Yehoram Gaon (Kazablan), who share funny vignettes about working with them; director Boaz Davidson (Lemon Popsicle), who says, “They were the Israeli Hollywood”; director Andrei Konchalovsky and actor Jon Voight, who made Runaway Train, which tallied three Oscar nominations; Jean-Claude Van Damme (Bloodsport), who talks about crying in front of Golan while trying to get a job; and writer-director Eli Roth, who discusses the influence of their work on him. Medalia also meets with members of Golan and Globus’s family, as their wives and children relate stories about the pair’s utter dedication to cinema, often at the expense of being around. But as Globus’s son Ram says, “They completed one another. It was a train that couldn’t be stopped.” The film is a bit of a rehashed mishmash; even at a mere eighty-five minutes, it is overloaded with old interviews and entertainment segments; although it’s fun seeing some of Ed Bradley’s 60 Minutes report on how Golan and Globus took over the Cannes Film Festival — where, appropriately enough, The Go-Go Boys premiered, in May 2014 — far too much of the TV program is shown. The documentary also doesn’t delve quite deep enough into how really bad so many of their pictures were, giving their stunning low quality relatively short shrift. When Medalia says to Golan, who passed away last summer at the age of eighty-five, “I want to hear about the failures,” he responds quite defiantly, “There were none.” The Go-Go Boys is screening at the New York Jewish Film Festival on January 29 at 1:00 and 6:15 at the Walter Reade Theater; the twenty-fourth annual festival continues through that night with screenings and special events at the Film Society of Lincoln Center and the Jewish Museum.

SUNDAYS ON BROADWAY

Yvonne Rainer’s CARRIAGE DISCRETENESS kicks off marathon opening of Sundays on Broadway winter season

Yvonne Rainer’s CARRIAGE DISCRETENESS kicks off marathon opening of Sundays on Broadway winter season

Who: Cathy Weis Projects
What: Rare screening of 9 Evenings: Theatre and Engineering, documenting collaboration between experimental artists and Bell Labs in 1966 at the 69th Regiment Armory
Where: WeisAcres, 537 Broadway between Prince & Spring Sts., buzzer #3
When: Sunday, January 25, free, 2:00 (all future events at 8:00)
Why: The 2014 winter season of Sundays on Broadway begins on January 25 with a ten-hour marathon of 9 Evenings: Theatre and Engineering, consisting of films by David Tudor, John Cage, Deborah Hay, Övynid Fahlström, Robert Rauschenberg, Yvonne Rainer, Steve Paxton, Robert Whitman, Alex Hay, and Lucinda Childs; the salon-style series continues Sunday nights at 8:00 through March 29 with live performances, readings, film screenings, discussions, and more, including a selection of Trisha Brown’s early works on February 1 with Wendy Perron, a screening of Léonide Massine’s Choreartium on February 8 with Tatiana Massine Weinbaum, and a reading of Fortunato Depero’s unpublished Dramma plastico futurista by puppeteer Dan Hurlin on February 15 (advance reservations are required for the immersive installations taking place the last four Sundays in March with Jon Kinzel, Jennifer Miller, Vicky Shick, and others)

MISS HILL: MAKING DANCE MATTER

Engaging documentary pays tribute to the life and legacy of Martha Hill, seen here dancing at Bennington in 1938 (photo by Thomas Bouchard)

Engaging documentary pays tribute to the life and legacy of Martha Hill, seen here dancing at Bennington in 1938 (photo by Thomas Bouchard)

MISS HILL: MAKING DANCE MATTER (Greg Vander Veer, 2014)
Quad Cinema
34 West 13th St.
Opens Friday, January 23
212-255-2243
www.quadcinema.com
www.misshillfilm.com

Greg Vander Veer’s Miss Hill: Making Dance Matter is a charming celebration of a woman who had a tremendous impact on the development of modern dance but is still little known outside her tight-knit circle. Born in 1900 in a small town in Bible Belt Ohio, Martha Hill danced with Martha Graham before concentrating on teaching the art form, which as a child she was told was sinful, at Bennington and NYU. But she created her legacy as the first director of dance at Juilliard, where she taught from 1951 to 1985, balancing instruction in both modern dance and classical ballet. Vander Veer (Keep Dancing) and coordinating producer Vernon Scott, who graduated from Juilliard in 1985 and is currently president of the board of directors of the Martha Hill Dance Fund, combine wonderful archival footage of Hill as both a dancer and a teacher, along with old clips of many of her students, including Pina Bausch, Lar Lubovitch, Bessie Schönberg, Hanya Holm, José Limón, and Doris Humphrey, as well as fellow teacher Antony Tudor; there are also new interviews with Paul Taylor, Martha Clarke, Francis Patrelle, Robert Battle, Ohad Naharin, Dennis Nahat, H. T. Chen, and others. “She’s created the dancers of the twenty-first century,” says former Boston Ballet artistic director Bruce Marks. One of the most fascinating parts of the eighty-minute documentary is Hill’s fight to preserve Juilliard’s dance program during the building of Lincoln Center, which pitted her against George Balanchine’s School of American Ballet, the New York City Ballet, and Lincoln Kirstein. Miss Hill displays its subject with clarity, smartly exploring her understanding that dance is more than just language and movement. “Modern dance is not a system, it is a point of view,” Hill explains. Meanwhile, Patrelle gets right to the heart of the matter: “She was dance. She defined it.” A lovely treat for dance fans, Miss Hill opens January 23, at the Quad, with Vander Veer and Scott participating in Q&As following the 7:00 shows Friday and Saturday and the 4:30 shows Saturday and Sunday.