this week in film and television

BAC FLICKS: CARMEN & GEOFFREY

The life of Carmen de Lavallade and Geoffrey Holder is examined in low-budget documentary

CARMEN & GEOFFREY (Linda Atkinson & Nick Doob, 2006)
Baryshnikov Arts Center, Jerome Robbins Theater
450 West 37th St. between Ninth & Tenth Aves.
Tuesday, April 24, $15, 7:00
866-811-4111
www.bacnyc.org
firstrunfeatures.com

Carmen & Geoffrey is an endearing look at Carmen de Lavallade and Geoffrey Holder’s lifelong love affair with dance — and each other. The New Orleans-born de Lavallade studied with Lester Horton and went to high school with Alvin Ailey, whom she brought to his first dance class. Trinidadian Holder is a larger-than-life gentle giant who is a dancer, choreographer, composer, costume designer, actor director, writer, photographer, painter, and just about anything else he wants to be. The two met when they both were cast in Truman Capote and Harold Arlen’s Broadway show House of Flowers in 1954, with Holder instantly falling in love with de Lavallade; they’ve been together ever since. Directors Linda Atkinson and Nick Doob combine amazing archival footage — of Eartha Kitt, Josephine Baker, Ulysses Dove, de Lavallade dancing with Ailey, and other splendid moments — with contemporary rehearsal scenes, dance performances, and interviews with such stalwarts as dance critic Jennifer Dunning, former Alvin Ailey artistic director Judith Jamison, and choreographer Joe Layton (watch out for his eyebrows), along with family members and Gus Solomons jr and Dudley Williams, who still work with de Lavallade. The film was made on an extremely low budget, and it shows, but it is filled with such glorious footage that you’ll get over that quickly. Carmen & Geoffrey is screening April 24 at 7:00 at the Baryshnikov Arts Center, with a panel discussion to follow, as part of the “BAC Flicks” series, which continues May 30 with Matt Wolf’s 2008 documentary, Wild Combination: A Portrait of Arthur Russell.

TRIBECA FILM FESTIVAL: SEXY BABY

SEXY BABY explores sexuality in the cyber age in fascinating ways

SEXY BABY (Jill Bauer & Ronna Gradus, 2012)
Monday, April 23, Clearview Cinemas Chelsea, 3:00
Friday, April 27, Clearview Cinemas Chelsea, 8:30
www.tribecafilm.com
www.sexybabymovie.com

Journalist Jill Bauer and news photographer Ronna Gradus take a fascinating look at how the availability of online pornography and the spread of social media are influencing mainstream culture in the poignant documentary Sexy Baby. Bauer and Gradus explore the lives of three very different female characters who have very different ideas about what it means to be female. Winnifred is an intelligent, thoughtful twelve-year-old girl living in New York City who likes to dress provocatively and uses Lady Gaga as a role model. “We’re, like, the first generation to have what we have, so there’s no one before us that can kind of guide us,” she says. “I mean, we are the pioneers.” Laura is a twenty-two-year-old North Carolina kindergarten teacher who has decided to undergo labiaplasty after a boyfriend complained about the size of her genitalia. “I just feel that it would be a huge turn-on to a guy to look like a porn star,” she admits. And thirty-two-year-old Nichole is a former porn star known as Nakita Kash who is now trying to start a family while making a living teaching pole dancing to women. “The adult entertainment world has completely infiltrated the mainstream,” she explains. “I do blame that on the digital age.” Bauer and Gradus follow the three main subjects around as they go about their daily business, resulting in a remarkably intimate portrait about the state of contemporary womanhood without making any grandiose statements or delving into politics and religion (and wisely avoiding talking-head experts), instead concentrating on Nichole, Laura, and Winnifred as they open up their lives and speak freely about their hopes and desires in a world flooded with TMI. Filled with intriguing dichotomies, Sexy Baby infuriates and titillates, frustrates and engages, while making you think long and hard about where we all are heading.

TRIBECA FILM FESTIVAL: CAROLINE AND JACKIE

CAROLINE AND JACKIE documents one very long night with some rather vapid characters

CAROLINE AND JACKIE (Adam Christian Clark, 2012)
Tuesday, April 24, Clearview Cinemas Chelsea, 9:00
Saturday, April 28, AMC Loews Village 7, 9:00
www.tribecafilm.com

Writer-director Adam Christian Clark’s feature-length debut, Caroline and Jackie, has nothing to do with the Kennedys. It also turns out to be more of a fictionalized version of a conglomeration of reality-show television series than a coherent narrative, albeit one with some powerful, effective moments. Jackie (Bitsie Tullouch) at first thinks that her sister, Caroline (Marguerite Moreau), has come to visit her to celebrate Caroline’s birthday. But Caroline turns the tables on Jackie, instead throwing a surprise party for Jackie before changing gears once again and staging an intervention, claiming Jackie is a pill-addicted anorexic, which Jackie adamantly denies. Thrust in the middle is Jackie’s boyfriend, Ryan (David Giuntoli). The three of them spend a long, complicated, emotional night together, along with some friends, examining one another as well as themselves, reaching some rather unpleasant conclusions. Clark, who has directed the American version of Big Brother and the Chinese reality show Fashion Star, had the actors improvise much of the dialogue (based on a specific outline), resulting in a choppy story with incongruent lines and characters that are hard to like or even care about. Every time the film seems to be heading in a better direction, particularly in scenes featuring only Ryan and Jackie, it slips back, getting lost in terrain better left to Jersey Shore, The Real World, and, well, Big Brother. In his director’s statement, Clark, who has been based in Los Angeles since he was eighteen and is now thirty-one, explained, “In being truly honest, we have to admit that we are all vapid.” Actually, no we don’t.

EARTH DAY 2012: MOBILIZE THE EARTH

The forty-second annual Earth Day, in which people around the world celebrate the planet and stress the importance of environmental wisdom, is taking place all weekend with a spate of activities throughout the metropolitan area. This year’s global theme is “Mobilize the Earth” with the express purpose to emphasize that “the Earth won’t wait,” and indeed it won’t. At Grand Central Terminal on Saturday, there will be storytelling, a food and nutrition panel, a special exhibit, and concerts by the Nightmare River Band, Conveyor, Annie and the Bee Keepers, FlyinFisch, the Whispering Tree, Push Method, and Kinetics & One Love. On Saturday night at 7:45, Rooftop Films will host a free screening of Sir David Attenborough’s widely acclaimed Planet Earth series, followed by the world premiere of the documentary The Making of Planet Earth, at Solar One; be sure to RSVP in advance here. And on the High Line on Sunday, performance artist Alison Knowles will invite visitors to help her make a huge salad at the West Sixteenth St. area from 10:00 am to 1:00 pm; the High Line will also host talks with gardeners, live music by the family-friendly On the Lam Brass Band, and interactive field stations.

GOODBYE FIRST LOVE

Sullivan (Sebastian Urzendowsky) and Camille (Lola Créton) experience the pleasure and pain of young romance in GOODBYE FIRST LOVE

GOODBYE FIRST LOVE (Mia Hansen-Løve, 2011)
IFC Center, 323 Sixth Ave. at Third St., 212-924-7771
Lincoln Plaza Cinema, 1886 Broadway at 63rd St., 212-757-2280
Opens Friday, April 20
www.ifcfilms.com

French filmmaker Mia Hansen-Løve’s third film is an infuriating yet captivating tale that runs hot and cold. Goodbye First Love begins in Paris in 1999, as fifteen-year-old Camille (Lola Créton) frolics naked with Sullivan (Sebastian Urzendowsky), her slightly older boyfriend. While she professes her deep, undying lover for him, he refuses to declare his total dedication to her, instead preparing to leave her and France for a long sojourn through South America. When Camille goes home and starts sobbing, her mother (Valérie Bonneton), who is not a big fan of Sullivan’s, asks why. “I cry because I’m melancholic,” Camille answers, as only a fifteen-year-old character in a French film would. As the years pass, Camille grows into a fine young woman, studying architecture and dating a much older man (Magne-Håvard Brekke), but she can’t forget Sullivan, and when he eventually reenters her life, she has some hard choices to make. Créton (Bluebeard) evokes a young Isabelle Huppert as Camille, while Urzendowsky (The Way Back) is somewhat distant as the distant Sullivan. There is never any real passion between them; Hansen-Løve (All Is Forgiven, The Father of My Children) often skips over the more emotional, pivotal moments, instead concentrating on the after-effects and discussions. While that works at times, at others it feels as if something crucial was left out, and not necessarily with good reason. Still, Créton carries the film with her puppy-dog eyes, lithe body, and a graceful demeanor that will make you forgive her character’s increasingly frustrating decisions.

THE DAY HE ARRIVES

Boram (Song Sun-mi), Youngho (Kim Sang-joong), and Seongjun (Yu Jun-sang) examine their lives in fascinating ways in Hong Sang-soo’s THE DAY HE ARRIVES

THE DAY HE ARRIVES (Hong Sang-soo, 2011)
Lincoln Plaza Cinema
1886 Broadway at 63rd St.
Opens Friday, April 20
212-757-2280
www.cinemaguild.com
www.lincolnplazacinema.com

For most of his career, South Korean auteur Hong Sang-soo has been making films about filmmakers, although not always about the filmmaking process itself. In such works as Woman on the Beach, Like You Know It All, Tale of Cinema, and Oki’s Movie, he’s delved into the more personal side of lead characters who are established or emerging directors. Hong reaches a career peek with his latest, The Day He Arrives, a deeply intuitive, vastly intelligent, and surprisingly existential exploration of a young man at a crossroads in his life. After having made four little-seen films and deciding to become a country teacher instead, director Seongjun (Yu Jun-sang) returns to his hometown in Seoul to visit his friend Youngho (Kim Sang-joong), a film critic who has just left his wife and is hanging out with a film teacher named Boram (Song Sun-mi). Seongjun stops by to visit his old girlfriend, Kyungjin (Kim Bok-yung), keeps bumping into an actress who appeared in one of his films, goes drinking with a trio of fans, and meets Yejeon (also played by Kim Bok-yung), the owner of a local bar where Youngho and Boram take him. As all of the main characters examine their lives, each one lacking something important, Hong has several scenes repeat multiple times with slight differences, as if they are alternate takes imbued with new meaning as the audience continues to learn more about the protagonists. Each revised scene contributes more insight and develops the characters further, even if the story seems to have backtracked in time. The nonlinear narrative and beautiful black-and-white cinematography evoke aspects of Woody Allen’s Stardust Memories, Harold Ramis’s Groundhog Day, and François Truffaut’s Day for Night, exceptional films that, like The Day He Arrives, carefully balance fantasy and reality, fiction and nonfiction while depicting the inherent dual nature of cinema and humanity. Earlier in his career, Hong seemed to have trouble ending his films, which would linger on well past the two-hour mark, but with the outstanding, poetic Oki’s Movie and its follow-up, The Day He Arrives, both of which run approximately eighty minutes, he has found an excellent length for his work — one that now almost feels too short, as he clearly has so much to say.

ANNUALS, BIENNIALS, TRIENNIALS

Lesley Dill’s “Woman in Dress with Star” and Glenn Ligon’s untitled oil painting are cleverly juxtaposed at 2012 Annual (photo by twi-ny/mdr)

THE ANNUAL: 2012
National Academy Museum
1083 Fifth Ave. at 89th St.
Wednesday – Sunday through April 29, $12, 11:00 am – 6:00 pm
212-369-4880
www.nationalacademy.org

In an artistic convergence that occurs only once every six years, the National Academy’s annual, the Whitney’s biennial, and the New Museum’s triennial are all on view at the same time. And in a perhaps unexpected convergence, all three reveal that less is more with shows that avoid jam-packing galleries with brand-name artists and instead concentrate on fewer works with a focus on installation. At the National Academy, a mix of cross-generational academicians and invited non-academicians makes for an effective examination of contemporary American art, albeit through a more traditional lens than at the biennial and the triennial, using juxtaposition as a means to an end. Figurative paintings by Burton Silverman, Daniel Bennett Schwartz, Gillian Pederson-Krag, and Philip Pearlstein are seen alongside abstract works by Dorothea Rockburne, Richard Mayhew, David Driskell, and Eric Aho. Sculptures by Barbara Chase-Riboud, Jeffrey Schiff, and Arlene Shechet line the center of a hallway of paintings. Lesley Dill’s “Woman in Dress with Star” stands in front of Glenn Ligon’s untitled oil painting, each incorporating text. The annual also includes a trio of video installations: Joan Jonas’s “Lines in the Sand,” Kate Gilmore’s “Break of Day,” and Carrie Mae Weems’s three-channel “Afro-Chic,” which keeps the funk pumping on the second floor. The 2012 Annual is the best the National Academy has put on in several years.

Gisèle Vienne with Dennis Cooper, Stephen O’Malley, and Peter Rehberg, “Last Spring: A Prequel,” mixed-media installation, 2011 (photo by twi-ny/mdr)

WHITNEY BIENNIAL 2012
Whitney Museum of American Art
945 Fifth Ave. at 75th St.
Wednesday – Sunday through May 27, $12, 11:00 am – 6:00 pm (pay what you wish Fridays 6:00 -9:00)
212-570-3600
www.whitney.org

“Art discourse serves to maintain links among artistic subfields and to create a continuum between practices that may be completely incommensurable in terms of their economic conditions and social as well as artistic values,” Andrea Fraser writes in “There’s no place like home,” an essay that serves as her contribution to the 2012 Whitney Biennial. “This may make art discourse one of the most consequential—and problematic—institutions in the art world today, along with mega-museums that aim to be all things to all people and survey exhibitions (like the Whitney Biennial) that offer up incomparable practices for comparison.” As it turns out, curators Elisabeth Sussman and Jay Sanders have not turned the biennial into all things for all people, instead putting together a manageable collection of contemporary American art that leans heavily toward performance and installation, showing off the space of the Marcel Breuer building instead of cluttering every nook and cranny with anything and everything. Visitors can walk through Oscar Tuazon’s “For Hire,” Georgia Sagri’s “Working the No Work,” and Wu Tsang’s “Green Room” and watch the New York City Players get ready for Richard Maxwell’s new site-specific play in an open dressing room. Gisèle Vienne’s “Last Spring: A Prequel” features a young animatronic teen standing in a corner, mumbling text by Dennis Cooper. More traditional art forms like painting and photography tend to get lost in these kinds of shows, but the disciplines are well represented by Nicole Eisenman’s uneasy figures, Andrew Masullo’s eye-catching small canvases filled with bright colors and geometric patterns, and Latoya Ruby Frazier’s photographic examination of her hometown of Braddock, Pennsylvania. If you’re thirsting for some music, there’s Lutz Bacher’s “Pipe Organ,” Lucy Raven’s “What Manchester Does Today, the Rest of the World Does Tomorrow” player piano, and Werner Herzog’s “Hearsay of the Soul,” a four-channel video installation that brings together Hercules Segers’s etchings with music by Ernst Reijseger. And then there’s Robert Gober’s exploration of the career of Forrest Bess, which has to be seen to be believed. For a closer look at the myriad live performances, talks, and workshops, visit here.

Triennial visitors can take a seat on Slavs and Tatars’ “PrayWay” while contemplating Lynette Yiadom-Boakye’s oil paintings (photo by twi-ny/mdr)

THE UNGOVERNABLES: 2012 NEW MUSEUM TRIENNIAL
New Museum
235 Bowery at Prince St.
Wednesday – Sunday through April 22, $12, 11:00 am – 6:00 pm (free Thursdays 7:00 -9:00)
212-219-1222
www.newmuseum.org

Three years ago, the New Museum’s inaugural triennial featured international artists who were all younger than Jesus was at his death at age thirty-three. The 2012 edition, “The Ungovernables,” comprises sculpture, painting, video, and installation that challenge the status quo often in subtle ways, commenting on world economics, corporatization, and politics through creative methods. In Amalia Pica’s “Eavesdropping,” a group of drinking glasses stick out from a wall, referencing both the surveillance and the digital age. Danh Vo’s “We the People” consists of sheets of pounded copper that are actually re-creations of the skin of the Statue of Liberty, a different way to look at freedom. Pratchaya Phinthong’s “What I learned I no longer know; the little I still know, I guessed” is a square collection of Zimbabwean paper money whose specific value continually decreases. Cinthia Marcelle and Tiago Mata Machado’s O Século (The Century) shows debris being thrown from a building, resulting in a visual and aural cacophony of chaos. The Propeller Group’s multichannel “TVC Communism” details the creation of a modern advertising campaign selling communism. Slavs and Tatars’ “PrayWay” is a folded prayer carpet on which visitors are invited to sit and get lost in contemplation that need not be religious. Lynette Yiadom-Boakye’s oil paintings examine race and gender. Hassan Khan’s short video, Jewel, depicts two men dancing using signifiers set to a propulsive Cairene song. José Antonio Vega Macotela’s “Time Exchange” details a four-year collaboration with Mexican prisoners in which tasks are exchanged instead of money. Pilvi Takala’s riotous “The Trainee” follows the Finnish-born artist’s intervention as she pretends to be working in a Deloitte office. And Gabriel Sierra’s interventions involve placing such objects as a ladder and a level, which he refers to as devils, directly into the walls of the museum. As with the National Academy’s Annual and the Whitney Biennial, “The Ungovernables” avoids clutter and overt political statements, steering clear of the obvious and instead offering a varied and intriguing look at the contemporary art world