Ahmed Hassan fights for a better future for Egypt in THE SQUARE
THE SQUARE (AL MIDAN) (Jehane Noujaim, 2013)
Film Society of Lincoln Center
Elinor Bunin Munroe Film Center, Howard Gilman Theater
Sunday, December 22, 4:00, and Monday, December 23, 8:15
Series runs December 20-26
212-875-5601
www.thesquarefilm.com
www.filmlinc.com
“During the early days, we agreed to stay united no matter what,” Ahmed Hassan tells those around him in Jehane Noujaim’s powerful and important documentary The Square. “When we were united, we brought down the dictator. How do we succeed now? We succeed by uniting once again.” But Ahmed, one of several Egyptian revolutionaries who Noujaim follows for two years in the film, finds that it is not that easy to bring everyone together, as the government leaders continue to change and factions develop that favor the military and the Muslim Brotherhood. Putting her own life in danger, Noujaim (The Control Room, Startup.com) is right in the middle of it all as she shares the stories of Ahmed, a young man who is determined to see the revolution through until peace and justice prevail; Magdy Ashour, a member of the Muslim Brotherhood who must choose between his own personal beliefs and that of his power-hungry organization; and Khalid Abdalla, the British-Egyptian star of The Kite Runner and United 93 who becomes an activist like his father, serving as the revolution’s main link to the international community through the media and by posting videos. In The Square, a 2013 New York Film Festival selection, Noujaim also introduces viewers to human rights lawyer Ragia Omran, protest singer Ramy Essam, and filmmaker Aida El Kashef, none of whom is willing to give in even as the violence increases.
Documentary offers an inside look at the occupation of Tahrir Square by Egyptians demanding freedom and democracy
In the documentary, Noujaim includes footage of televised political speeches and interviews that contradict what is actually happening in Tahrir Square as elections near. Reminiscent of Stefano Savona’s Tahrir: Liberation Square, which played at the 2011 New York Film Festival, The Square makes the audience feel like it’s in Tahrir Square, rooting for the revolutionaries to gain the freedom and democracy they so covet. The film also features several stunning shots of the massive crowds, most memorably as thousands of men kneel down in unison to pray to Mecca. Among its many strengths, The Square personalizes the revolution in such a way as to reveal that a small group of people can indeed make a difference, although sometimes they just have to keep on fighting and fighting and fighting. The Square is screening December 22 at 4:00 and December 23 at 8:15, both followed by Q&As with Noujaim, as part the Film Society of Lincoln Center series “For Your Consideration: Documentary Oscar Hopefuls,” which runs December 20-26 and consists of all fifteen nonfiction features that have made the Academy Awards short-list, including Cutie and the Boxer, Dirty Wars, Stories We Tell, Blackfish, and 20 Feet from Stardom. The festival will be followed December 27 – January 2 by “For Your Consideration: Foreign Oscar Hopefuls,” comprising such international fare as Wong Kar-wai’s The Grandmaster, Thomas Vinterberg’s The Hunt, Kleber Mendonça Filho’s Neighboring Sounds, and Haifaa Al Mansour’s Wadjda.
Zachary Heinzerling’s 
In 2003, Amsterdam’s crown jewel, the Rijksmuseum, was closed to begin a major renovation. Little did everyone know at the time that the project would be delayed for years and go hundreds of millions of dollars over budget. Dutch director Oeke Hoogendijk captures all the surprisingly gripping fun and intrigue in the two-part, four-hour documentary The New Rijksmuseum. Hoogendijk brings her camera into every architectural meeting, monetary debate, and contractor dilemma, gaining remarkable access as no one shies away from sharing their personal and professional feelings on everything from the heated battle with community cycling activists over public use of the building’s entrance as a bike passage to such exacting details as paint color, smoothness of the walls, the art-historical value of certain works, and staying true to Pierre Cuypers’s 1885 building. The first documentary follows museum director Ronald de Leeuw as the process gets under way and continually gets mired in such issues as bidding contests that end up having only one participating company and the city’s dislike for a modern study center addition. In the second film, Wim Pijbes takes over as museum director in 2008, and his problems quickly mount as well as construction work eventually starts and deadlines approach. “I spend more time on cyclists than Rembrandt,” he acknowledges. “It’s my fate.” The interplay among such architects as Antonio Cruz, Antonio Ortiz, and Jean-Michel Wilmotte, a succession of project managers, curators of individual museum galleries, and the director is simply fascinating as they all give their very frank opinions on the renovation of the home of such treasures as Rembrandt’s “The Night Watch” and Vermeer’s “The Milkmaid.” There’s also a whole lot of hysterical eye rolling. Hoogendijk’s two films are part mystery, part thriller, part absurdist comedy, but at the heart of it all is a deep love of art and the understanding of its cultural importance. “You gain all this knowledge only to forget it all again, but the essence remains with you,” says Asian Pavilion curator Menno Fitski. “You don’t have to remember everything you see in a museum. The experience is what makes you feel like a better human being.” The New Rijksmuseum will change the way you experience museums, especially the next time you walk through MoMA, the Met, the Louvre, or any other major cultural institution, and perhaps most of all, it will make you want to go to Amsterdam and see the new Rijksmuseum itself. The two parts are being shown at Film Forum through January 1; although you can see them separately for the price of one admission, it’s a lot more exciting watching them back to back, immersing yourself in this crazy, complicated love story.
The slogan “Free Pussy Riot!” is being shouted around the world — and was even seen on Madonna’s back — ever since the Russian government arrested three members of punk collective Pussy Riot after they staged an anarchic performance of less than one minute of “Mother Mary, Banish Putin!” at Christ the Savior Cathedral in Moscow on February 21, 2012. British documentary producer Mike Lerner and Russian filmmaker Maxim Pozdorovkin follow the sensationalistic trial of Pussy Riot leaders Maria “Masha” Alyokhina, Nadezhda “Nadia” Tolokonnikova, and Yekaterina “Katia” Samutsevich as they each face years in prison for social misconduct and antireligious behavior for what some consider a sacrilegious crime and others view as freedom of speech. The three women do a lot of eye rolling and smiling in court as they are enclosed in a glass booth, proud and unashamed of what they did, continuing to make their points about the separation between church and state, feminism, freedom, and the seemingly unlimited power of Vladimir Putin. Lerner and Pozdorovkin speak with Masha’s mother and Nadia’s and Katia’s fathers, all of whom fully support their daughters’ beliefs and discuss what their children were like growing up. Meanwhile, other members of Pussy Riot and men and women across the globe take to the streets and airwaves to try to help free the incarcerated trio, who are responsible for such songs as “Kill the Sexist,” “Death to Prison, Freedom to Protests,” and “Putin Lights Up the Fires.” Pussy Riot: A Punk Prayer is screening December 20-21 as part the Film Society of Lincoln Center series “For Your Consideration: Documentary Oscar Hopefuls,” which runs December 20-26 and consists of all fifteen nonfiction features that have made the Academy Awards short-list, including Cutie and the Boxer, Dirty Wars, Stories We Tell, Blackfish, and 20 Feet from Stardom. The festival will be followed December 27 – January 2 by “For Your Consideration: Foreign Oscar Hopefuls,” comprising such international fare as Wong Kar-wai’s The Grandmaster, Thomas Vinterberg’s The Hunt, Kleber Mendonça Filho’s Neighboring Sounds, and Haifaa Al Mansour’s Wadjda.
