this week in film and television

BENEATH

A group of teenagers are going to need a much bigger boat in Larry Fessenden’s tense thriller BENEATH

BENEATH (Larry Fessenden, 2013)
IndieScreen, 2899 Kent Ave. at South Second St., 347-227-8030, July 16, 19, 20, 9:00
IFC Center, 323 Sixth Ave. at West Third St., 212-924-7771, opens Wednesday, July 17
www.beneaththewater.com

Jaws and Friday the 13th meet Lifeboat and Lord of the Flies in indie filmmaker Larry Fessenden’s latest thriller, Beneath. Made for Syfy’s Chiller TV channel, where it will be available on demand beginning July 16 — it is also being released theatrically in New York City this week — Beneath is the first feature film Fessenden (The Last Winter, Habit, Wendigo) has directed but did not write; the occasional actor and musician also served as producer and editor, while the script is by Tony Daniel and Brian D. Smith. The story takes place on a Connecticut lake, where a group of teenagers have gone to celebrate high school graduation. Sexy blonde Kitty (Bonnie Dennison), athletic meathead brothers Matt (Chris Conroy) and Simon (Jonny Orsini), camera-obsessed nerd Zeke (Griffin Newman), demure brunette Deb (MacKenzie Rosman), and pouty townie Johnny (Daniel Zovatto) head out on a rowboat to cross the Black Lake, but they soon learn that they’re going to need a much bigger boat, as there’s something lurking in the water that prefers not to be disturbed. As the teens battle the evil, giant piranha/monkfish, deep, dark secrets float to the surface, leading the kids to fight amongst themselves as much as their mechanical tormentor. Fessenden clearly has fun playing with genre clichés, although there are still plenty of moments in which viewers will find themselves yelling at the screen because of stupid decisions or gigantic plot holes, but he does a good job given his restrictions — because this is essentially a basic-cable movie, there is no cursing or nudity, and the tense action has to have carefully timed pauses built in to allow for eventual commercials. Still, Beneath is an involving, claustrophobic tale in which the characters’ true individual natures emerge as their fear of death grows. To find out more about the history of the lake, a prequel comic book is available, written by Daniel and Smith and illustrated by Brahm Revel. Beneath opens July 17 at the IFC Center and will also be shown July 16, 19, and 20 at IndieScreen in Williamsburg, with Fessenden participating in a Q&A following the July 16 screening.

OZU REPRISE PRESENTATION: THE END OF SUMMER

Ganjirō Nakamura is a sheer delight as the unpredictable patriarch of the Kohayagawa family in THE END OF SUMMER

THE END OF SUMMER (KOHAYAGAWA-KE NO AKI) (Yasujirō Ozu, 1961)
Film Forum
209 West Houston St.
Tuesday, July 16, 1:00, 3:15, 5:30, 7:40, 9:50, and Wednesday, July 17, 1:00, 3:15, 5:30
Series runs through July 25
212-727-8110
www.filmforum.org

Yasujirō Ozu’s next-to-last film, 1961’s The End of Summer, is a poignant examination of growing old in a changing Japan; Ozu would make only one more film, 1962’s An Autumn Afternoon, before passing away on his sixtieth birthday in December 1963. Ganjirō Nakamura is absolutely endearing as Manbei Kohayagawa, the family patriarch who heads a small sake brewery. The aging grandfather has been mysteriously disappearing for periods of time, secretly visiting his old girlfriend, Sasaki (Chieko Naniwa), and her daughter, Yuriko (Reiko Dan), who might or might not be his. In the meantime, Manbei’s brother-in-law, Kitagawa (Daisuke Katō), is trying to set up Manbei’s widowed daughter-in-law, Akiko (Setsuko Hara), with businessman Isomura Eiichirou (Hisaya Morishige), while also attempting to find a proper suitor for Manbei’s youngest daughter, Noriko (Yoko Tsukasa), a typist with strong feelings for a coworker who has moved to Sapporo. Manbei’s other daughter, Fumiko (Michiyo Aratama), is married to Hisao (Keiju Kobayashi), who works at the brewery and is concerned about Manbei’s suddenly unpredictable behavior. When Manbei suffers a heart attack, everyone is forced to look at their own lives, both personal and professional, as the single women consider their suitors and the men contemplate the future of the business, which might involve selling out to a larger company. “The Kohayagawa family is complicated indeed,” Hisao’s colleague tells him when trying to figure out who’s who, an inside joke about the complex relationships developed by Ozu and longtime cowriter Kôgo Noda in the film as well as in the casting.

Akiko (Setsuko Hara) and Noriko (Yoko Tsukasa) represent old and new Japan in Ozu’s penultimate film

The End of Summer tells a far more serious story than Late Spring and many other Ozu films that deal with matchmaking and middle-class Japanese life, both pre- and postwar. The perpetually smiling Hara, who played unrelated women named Noriko in three previous Ozu films, once again plays a young widow named Akiko here, as she did in Late Autumn, while Tsukasa, who played Hara’s daughter in Late Autumn, now takes over the name of Noriko as Akiko’s sister. Late Autumn also featured a character named Yuriko Sasaki, played by Mariko Okada, who went on to play a woman named Akiko in Ozu’s final film, An Autumn Afternoon. Got that? Ozu’s fifth film in color, The End of Summer uses several beautiful establishing shots that incorporate flashing light and bold hues — including a neon sign that declares “New Japan” — photographed by Asakazu Nakai (Seven Samurai, Throne of Blood, Ran), as well as numerous carefully designed set pieces that place the old and the new in direct contrast, primarily when Akiko and Noriko are alone, the former in a kimono, the latter in more modern dress. But at the center of it all is Nakamura, who plays Manbei with a childlike glee, as if Ozu is equating birth and death, the beginning and the end. The film is screening July 16 & 17 at Film Forum, which is holding a “Reprise Presentation” of its earlier, extensive Ozu series with encore screenings of eight of the works, continuing with The Flavor of Green Tea over Rice, Early Summer, Tokyo Twilight, Equinox Flower, and Late Autumn.

AGNES B. SELECTS: THE CONFORMIST

Jean-Paul Trintignant tries to find his place in the world in Bernardo Bertolucci’s lush masterpiece, THE CONFORMIST

THE CONFORMIST (IL CONFORMISTA) (Bernardo Bertolucci, 1970)
Anthology Film Archives
32 Second Ave. at Second St.
Monday, July 15, 9:00; Friday, July 19, 9:15; and Sunday, July 21, 8:45
Series runs July 10-21
212-505-5181
www.anthologyfilmarchives.org

Based on the novel by Alberto Moravia, Bernardo Bertolucci’s gorgeous masterpiece, The Conformist, is a political thriller about paranoia, pedophilia, and trying to find one’s place in a changing world. Jean-Louis Trintignant (And God Created Woman, Z, My Night at Maud’s) stars as Marcello Clerici, a troubled man who suffered childhood traumas and is now attempting to join the fascist secret police. To prove his dedication to the movement, he is ordered to assassinate one of his former professors, the radical Luca Quadri (Enzo Tarascio), who is living in France. He falls for Quadri’s much younger wife, Anna (Dominique Sanda), who takes an intriguing liking to Clerici’s wife, Giulia (Stefania Sandrelli), while Manganiello (Gastone Moschin) keeps a close watch on him, making sure he will carry out his assignment. The Conformist, made just after The Spider’s Stragagem and followed by Last Tango in Paris, captures one man’s desperate need to belong, to become a part of Mussolini’s fascist society and feel normal at the expense of his real inner feelings and beliefs. An atheist, he goes to church to confess because Giulia demands it. A bureaucrat, he is not a cold-blooded killer, but he will murder a part of his past in order to be accepted by the fascists (as well as Bertolucci’s own past, as he makes a sly reference to his former mentor, Jean-Luc Godard, by using the French auteur’s phone number and address for Quadri’s). Production designer Ferdinando Scarfiotti and cinematographer Vittorio Storaro bathe the film in lush Art Deco colors as Bertolucci moves the story, told in flashbacks, through a series of set pieces that include an erotic dance by Anna and Giulia, a Kafkaesque visit to a government ministry, and a stunning use of black and white and light and shadow as Marcello and Giulia discuss their impending marriage. The Conformist is a multilayered psychological examination of a complex figure living in complex times, as much about the 1930s as the 1970s, as the youth of the Western world sought personal, political, and sexual freedom. The Conformist is screening July 15, 19, and 21 as part of the Anthology Film Archives series “agnès b. selects,” consisting of ten films chosen by the Versailles-born fashion designer that, she explains, “taught me to appreciate other points of view, seen from a different angle, showing passion and the wounds, of every sort, that left their mark on me forever.” Among her other selections are Lindsay Anderson’s If, François Truffaut’s Fahrenheit 451, Godard’s La Chinoise, Ken Loach’s Family Life, and Akira Kurosawa’s Dodes’ka-Den.

HIGHLIGHTS OF CANNES FILM FESTIVAL WITH GILLES JACOB: LOVES OF A BLONDE

The wonderful LOVES OF A BLONDE is part of Cannes Film Festival tribute at FIAF and will be introduced by director Miloš Forman

CinémaTuesdays: LOVES OF A BLONDE (LÁSKY JEDNÉ PLAVOVLÁSKY) (Miloš Forman, 1965)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, July 16, $10, 12:30, 4:00, 7:30
212-355-6100
www.fiaf.org

Released a few years before the Summer of Love and Prague Spring, Miloš Forman’s Loves of a Blonde is a very funny romantic black comedy that also has a lot to say about women’s burgeoning sexual freedom. The delightful Hanu Brejchovou stars as Andula, a young factory worker whose sexual liberation is ahead of its time in an old-fashioned small town. When a trainload of military reservists arrives, most of the single women do their best to attract the uniformed men at a big party, but Andula is more interested in pianist Milda (Vladimíra Pucholta). In a scene for the ages, three men try to pick up Andula and her two friends, with hysterical results. Later, when Andula visits Milda in Prague, she meets the piano player’s parents (Milada Jezková and Josef Sebánek), who are a droll riot. A Czech New Wave classic that evokes Godard and Truffaut, Loves of a Blonde, which was nominated for an Oscar for Best Foreign Language Film, caused a sensation when it played the New York Film Festival and introduced Forman (One Flew Over the Cuckoo’s Nest, Amadeus) to the world. Notably, assistant director and cowriter Ivan Passer, who also worked with Forman on the Oscar-nominated The Firemen’s Ball, defected to America following Prague Spring and went on to make such films as Born to Win and Cutter’s Way. Loves of a Blonde is screening July 16 as part of the FIAF CinémaTuesdays series “Highlights of Cannes Film Festival with Gilles Jacob,” comprising works chosen by festival president Jacob in honor of the glamorous event’s sixty-fifth anniversary, and the one and only Forman himself will be at Florence Gould Hall to introduce the 7:30 show. [ed note: Unfortunately, Forman has had to cancel his appearance.] The series continues July 23 with Luis Buñuel’s Viridiana before concluding July 30 with Robert Bresson’s Pickpocket.

WILLIAMSBURG SUMMER NIGHTS, MOVIES IN THE PARK: THE ARTIST

Michel Hazanavicius’s THE ARTIST is a charming celebration of silent cinema

THE ARTIST (Michel Hazanavicius, 2011)
East River State Park
90 Kent Ave.
Monday, July 15, free, 8:30
718-782-2731
www.weinsteinco.com
www.nysparks.com

French director Michel Hazanavicius has followed his two OSS 117 espionage parodies, Cairo, Nest of Spies and Lost in Rio, with another genre exercise, this time taking on silent film in the charming international hit The Artist. Reteaming Jean Dujardin and Bérénice Bejo from Cairo, Nest of Spies, Hazanavicius tells the story of the end of silent cinema through the clever use of the genre’s own familiar conventions. Dujardin stars as George Valentin, a silent-film idol who believes that talking pictures will just be a passing fad. Bejo, who is married to Hazanavicius, plays Peppy Miller, a young, peppy Hollywood hopeful who embraces the arrival of the sound era, rising as fast as Valentin is falling. It’s a different take on the classic A Star Is Born theme, with plenty of inside jokes and cute references about the movies, although purposefully using clichés doesn’t excuse the film from often being too clichéd itself; many of the scenes are far too predictable, offering few genuine surprises as the plot unfolds. However, Hazanavicius and his crew nail the period both aurally and visually, with splendid costumes by Mark Bridges, production design by Laurence Bennett, set decoration by Robert Gould, cinematography by Guillaume Schiffman, and music by Ludovic Bource. Excellent support is supplied by James Cromwell as Valentin’s loyal valet, John Goodman as cigar-chomping producer Al Zimmer, and Uggie as Valentin’s ever-faithful dog, Jack. Nominated for ten Academy Awards and winning seven, including Best Picture, Best Actor, Best Original Screenplay, Best Cinematography, Best Costume Design, and Best Original Score, The Artist is a fabulously made though flawed and overrated film that is a charming celebration of the movies — and a great way to get people into theaters to experience the myriad pleasures of black-and-white silent cinema. The film is screening for free on July 15 in East River State Park as part of the “Williamsburg Summer Nights, Movies in the Park” series, which continues with Up on July 22 before concluding with Skyfall on July 29.

NEW YORK REVIEW OF BOOKS 50th ANNIVERSARY: LE AMICHE

Luc Sante will introduce a special presentation of Michelangelo Antonioni’s magnificent melodrama LE AMICHE on July 15 at Film Forum

LE AMICHE (Michelangelo Antonioni, 1955)
Film Forum
209 West Houston St.
Monday, July 15, 7:00
212-727-8110
www.filmforum.org

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. Recently restored in 35mm, Le Amiche is a newly rediscovered treasure from one of cinema’s most iconoclastic auteurs. The film will have a special screening July 15 at 7:00 as part of Film Forum’s ongoing celebration of the fiftieth anniversary of the New York Review of Books and will be introduced by frequent NYRB contributor Luc Sante (Low Life, The Factory of Facts). The NYRB edition of The Selected Works of Cesare Pavese, which will be available at Film Forum, includes Among Only Women in addition to Pavese’s The Beach, The House on the Hill, and The Devil in the Hills.

MUSIC DRIVEN: AMERICAN HARDCORE

AMERICAN HARDCORE celebrates loud, fast, and angry music scene

AMERICAN HARDCORE: THE HISTORY OF AMERICAN PUNK ROCK 1980-1986 (Paul Rachman, 2006)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Saturday, July 13, and Sunday, July 14, 12 noon
718-384-3980
www.nitehawkcinema.com
www.sonyclassics.com/americanhardcore

A must-see for fans of loud, fast, angry music circa 1980-86, American Hardcore looks at one of the smaller but nonetheless influential movements in American music. A basic doc in the classic do-it-yourself sensibility that informed so much of the music scene it chronicles, American Hardcore features interviews with Henry Rollins, lead singer of Black Flag; H.R., the mercurial, difficult, but brilliant lead singer for the Bad Brains; Mike Watt of the Minutemen; and various personnel from the Circle Jerks, Minor Threat, and 7 Seconds. Tommy Stinson of the Replacements and Flea of the Red Hot Chili Peppers weigh in as well. The abundance of old concert footage is fabulous, but director Paul Rachman and writer Steven Blush discovered much of it in shoeboxes in basements during their low-budget cross-country trip while making the movie, so the overall production quality is not high ― which in some ways works better overall. The film does a good job of lovingly showing just how home-grown and amateurish the scene was and debating the importance of the scenes in Houston, Minneapolis, DC, Boston, and Southern California. The finale with a graphic artist and cover designer calling for the next generation of hardcore is a riot. American Hardcore is screening July 13 and 14 at 12 noon as part of the Nitehawk Cinema series “Music Driven”; the Saturday show will be followed by a Q&A with director Rachman, while Blush will be on hand for a Q&A after Sunday’s screening. (In addition to writing the American Hardcore book, Blush has also created one of the great music sites, 24 Hours of Hardcore, where visitors can stream hundreds of the best, and often hardest-to-find, songs from the movement he has so thoroughly explored.) The Nitehawk series continues August 10-11 with Peter Glantz and Nick Noe’s Lightning Bolt: The Power of Salad and September 14-15 with Shane Meadows’s This Is England.