this week in film and television

UNDER THE INFLUENCE OF LE TIGRE: WHO TOOK THE BOMP? LE TIGRE ON TOUR

Le Tigre concert documentary will screen June 7 at the Maysles Institute, with Kathleen Hanna, Johanna Fateman, and director Kerthy Fix on hand to discuss the film and more

WHO TOOK THE BOMP? LE TIGRE ON TOUR (Kerthy Fix, 2010)
Maysles Cinema
343 Malcolm X Blvd. between 127th & 128th Sts.
Tuesday, June 7, $10, 7:30
212-582-6050
www.mayslesinstitute.org
www.letigreworld.com

In 1961, Barry Mann and Gerry Goffin wrote, “I’d like to thank the guy / who wrote the song / that made my baby / fall in love with me.” The title of that be-bop song, “Who Put the Bomp,” inspired one of music’s first fanzines and later the punk record label Bomp! Records. In their 1999 song “Deceptacon,” the riot grrrl group Le Tigre flipped that question around, asking, “Who took the bomp from the bompalompalomp? / Who took the ram from the ramalamadingdong?” In the song they also dare, “Let me hear you depoliticise my rhyme.” Formed in 1998 by former Bikini Kill leader Kathleen Hanna, zine writer Johanna Fateman, and visual artist Sadie Benning, who was replaced in 2000 by DJ and projectionist JD Samson, Le Tigre challenged the male-dominated world of rock and punk, championing individuality and sexual freedom while redefining gender roles. In 2004, Hanna, Fateman, and Samson set out on a world tour in support of their third and final album, This Island, and asked their lighting designer, Carmine Covelli, to capture it all on film. The result is the engaging Who Took the Bomp? Le Tigre on Tour, in which Covelli and director Kerthy Fix go onstage, backstage, and behind the scenes as the influential trio heads across four continents and ten countries, playing exciting live shows, meeting the media, taking pictures with Slipknot, revealing what they pack in their luggage, exercising in the gym, and talking about facial hair. They also discuss more serious issues such as gender identity, lesbianism, and their DIY mentality, which flew in the face of the music industry. The seventy-two-minute film, which features live multimedia performances of such songs as “Hot Topic,” “Keep on Livin’,” “Viz,” and “Deceptacon,” is screening on June 7 at 7:30 as part of the Maysles Institute’s monthly “Under the Influence of” series and will be followed by a Q&A with Fix, Hanna, and Fateman.

CELEBRATE OUR NEW FILM CENTER WITH US!

Film Society of Lincoln Center
Elinor Bunin Munroe Film Center
West 65th St. between Broadway & Amsterdam Ave.
June 10-12, free (some events require advance tickets)
212-875-5610
www.filmlinc.com

The Film Society of Lincoln Center is celebrating the opening of its deluxe new multiscreen theater space, the Elinor Bunin Munroe Film Center across the street from the Walter Reade Theater on West 65th St., with a series of free events next weekend. Among the many special programs are a screening of Oliver Stone’s revised final cut of Alexander Revisited, followed by a Q&A with the controversial director; rare screenings of Jacques Feyder’s 1926 silent film Gribiche and Victor Von Plessen, Friedrich Dalsheim, and Walter Spies’s 1933 Island of Demons; a live performance by Fall on Your Sword; Duke professor Fredric Jameson discussing “The Future of Film”; USC neuroscientist Antonio Damasio delivering the lecture “I Am a Studio: Notes on Brain, Self, and Cinema”; and the panel discussion “New Faces of NY Independent Film,” with Antonio Campos, Mike Cahill, Ben and Josh Safdie, and others, moderated by Ted Hope. Paul Schrader will give a Film Class on Bernardo Bertolucci’s The Conformist, Jason Reitman and Mike Nichols will examine the latter’s Carnal Knowledge, Jez Butterworth will talk about his 1997 film, Mojo, Marc Downie, Shelley Eshkar, and Paul Kaiser will show works in 3D, Maurice Marable will host Ghetto Film School screenings of The Story and Live, Joseph!, film scholar Sam Ho will introduce Fei Mu’s restored 1940 biopic Confucius, and Kevin Smith will begin his SMoviola series with Martha Coolidge’s charming 1983 comedy Valley Girl, in addition to screenings of George Cukor’s My Fair Lady, Michael Curtiz’s British Agent, Adam Curtis’s It Felt Like a Kiss, and a sneak preview of an upcoming film that was a hit at Sundance. Finally, “NYFF Opening Night Classics Movie Marathon” features such New York Film Festival opening-night selections as Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown, Quentin Tarantino’s Pulp Fiction, Jim Jarmusch’s Down by Law, François Truffaut’s Day for Night, the Coen brothers’ Miller’s Crossing, and Akira Kurosawa’s Ran. Although everything is free, some of the events require advance online ticketing beginning today, June 3, so keep your eye on the above website if you want to be able to catch some of these very special programs.

TWI-NY TALK: MOLLY SURNO — CINEMA 16 AT THE MET

Molly Surno is keeping the spirit of experimental and avant-garde film alive by bringing back Cinema 16

Metropolitan Museum of Art
1000 Fifth Ave. at 82nd St.
Friday, June 3, 7:00
Free with recommended admission of $20
212-570-3828
www.mollysurno.wordpress.com
www.metmuseum.org/collegegroup

In 1947, Amos Vogel founded Cinema 16 as an art community where film devotees could see and discuss experimental celluloid works. Vogel, who turned ninety this past April, later cofounded the New York Film Festival with Richard Roud, serving as its first director in 1963; the NYFF still features the “Views from the Avant-Garde” showcase every year. Since April 2008, photographer and curator Molly Surno has taken up the reins of Vogel’s initial call to arms, answering his question “Shall this audience continue unaware of these hundreds of thought-provoking, artistically satisfying, and socially purposeful films?” by bringing back Cinema 16. The L.A.-born, Brooklyn-based Surno puts together monthly programs that combine classic and contemporary avant-garde films with cutting-edge bands providing live scores. On June 3 at 7:00, she is presenting her latest gathering, being held at the Metropolitan Museum of Art in conjunction with the exhibition “Guitar Heroes: Legendary Craftsmen from Italy to New York.” Introduced by Met associate curator Jayson Kerr Dobney, the evening, part of the Met’s College Group initiative, will feature films by Andy Warhol, Rudy Burckhardt, Edgar Varèse and Le Corbusier, Gina Carducci, Herbert Kosower, and Francis Thompson and live music by Nick Zinner and Brian Chase of the Yeah Yeah Yeahs, Shahin Motia of Oneida, and MV Carbon. As she prepared for the event, Surno was able to sneak in a few minutes to discuss experimental cinema and more with twi-ny.

twi-ny: You’ve held previous editions of Cinema 16 at such venues as the Kitchen, Smack Mellon, Galapagos, the Bell House, and MoMA/PS1, but your next edition is taking place June 3 at the Met, in conjunction with the “Guitar Heroes” exhibition. How did that come about? Did the location impact how you curated the program?

Molly Surno: To my amazement the Metropolitan Museum contacted me to do a performance as part of the programming for the “Guitar Heroes” exhibit. Humbled and inspired, I tailored this program entirely to the current show. The band is composed of some of Brooklyn’s most incredible string players, echoing the three centuries of string instruments on display. The films I selected are all based on the idea of a cityscape being a muse for artistic expression. “Guitar Heroes” shows the journey of string instruments from Southern Italy to New York and the way the luthiers drew from their environments. I took that same premise and selected films that used one’s surroundings as the platform for creative influence. Francis Thompson’s film N.Y., N.Y. quite literally examines the day in a life of a New Yorker but through a kaleidoscope-type lens; Andy Warhol’s Screen Test of Salvador Dalí expresses the culture of an artistic community congregating in New York; Gina Carducci’s Stone Welcome Mat journeys from the Sicily of her grandfather’s home super-8 films to her own return to Southern Italy decades later from the eye of a New York–based artist, among other tales of our surroundings informing and motivating creative works.

Francis Thompson’s “N.Y., N.Y.” is among the avant-garde films Molly Surno will be presenting at the Met on June 3

twi-ny: What do you choose first when putting together a program, the films or the musicians?

MS: The selection process entirely depends on the commission. For the Met the “Guitar Heroes” exhibition completely dictated both the musical and film curation.

twi-ny: Where did your love of experimental films come from? Was there a “Eureka!” moment? For us, the Eureka! moment, for example, was taking a class with Amos Vogel back in college. Is he familiar with what you’re doing?

MS: I am actively trying to find my way uptown so that I can meet Amos and potentially do a program together. It’s on the wish list.

twi-ny: Are there certain films out there that you’ve been searching for but have been unable to find or gain access to? Who are the new artists making experimental films today who have a similar spirit to those made by such innovators as Maya Deren, Bruce Conner, Shirley Clarke, and Stan Brakhage?

MS: Certainly films are hard to access because they weren’t preserved properly. For example, I wanted to show some Italian experimental film for this program, but there is so little that was properly archived (or archived at all). There is a community that is vibrant and active around the preservation of experimental films, and through them I have met some incredible contemporary avant-garde artists, including Joel Schlemowitz, Gina Carducci, MM Serra, and Mark Street, to name a few. A few years back I showed a piece by an artist named Ezra Johnson, who also works with animation. His work blows my mind.

twi-ny: You’re constantly surrounded by avant-garde film and music. Do you ever just push it all to the back of your mind and spend a Saturday night checking out The Hangover Part II, Thor, or the latest Twilight or Pirates of the Caribbean flick?

MS: This might be my favorite question any journalist has ever asked me. Oddly enough, the more experimental films I watch, the harder it is for me to sit through big-budget films. I mean, let’s put it this way: For me, a Saturday night spent among purely escapist entertainment would include The Godfather or The French Connection. . . . That is about as mainstream as I like to get.

BROOKLYN INTERNATIONAL FILM FESTIVAL: PLOT

IndieScreen, 285 Kent Ave.
Brooklyn Heights Cinema, 70 Henry St.
June 3-12, $10 per screening
Full Festival Pass $200, 4 Pack Pass $25, Opening Night Pass $25
www.brooklynfilmfestival.org

The 2011 edition of the Brooklyn International Film Festival will take place June 3-12 at IndieScreen and Brooklyn Heights Cinema, comprising more than one hundred films from more than two dozen countries. The competitive festival, whose theme this year is “Plot” — which could relate to both story line as well as the controversial plot of land known as the Atlantic Yards — includes such feature films as Kitao Sakurai’s Aardvark (U.S.), Davey Frankel & Rasselas Lakew’s The Athlete (Ethiopia), Julien Donada’s On the Shore (France), Slava Ross’s Siberia, Monamour (Russia), and Massimiliano Verdesca’s W Zappatore and such full-length documentaries as Marjoleine Boonstra’s Among Horses and Men (the Netherlands), Daniel Bishop’s Bed Stuy — Do or Die (England), Maya Derrington’s Pyjama Girls (Ireland), and Katja Esson’s Skydancer (U.S.). Appropriately, Suki Hawley & Michael Galinsky’s Battle for Brooklyn, about the continuing fight over the Atlantic Yards project and potentially bringing the Nets to Brooklyn, kicks things off on June 3, followed by a Q&A with the directors and composers and an after-party at the powerHouse Arena; it will also be shown June 9 at 9:00 in Fort Greene Park in conjunction with Rooftop Films. KidsFilmFest 2011 will take place June 4 at IndieScreen and June 5 at the Long Island Children’s Museum. Among the awards up for grabs are the Grand Chameleon for best film, Best in Category, Best New Director, the Spirit Award, and the Audience Award.

WEEKEND CLASSICS — KUROSAWA: STRAY DOG

Takashi Shimura and Toshiro Mifune are on the hunt in Kurosawa detective story

STRAY DOG (Akira Kurosawa, 1949)
IFC Center
323 Sixth Ave. at West Third St.
June 3-5, $13, 11:00 am
Series continues through September 11
212-924-7771
www.ifccenter.com

Akira Kurosawa’s thrilling police procedural, Stray Dog, is one of the all-time-great film noirs. When newbie detective Murakami (Toshirō Mifune) gets his Colt lifted on a bus, he thinks he will be fired if he does not get it back. But as he searches for it, he discovers that it is being used in a series of robberies and murders that he feels responsible for. Teamed with seasoned veteran Sato (Takashi Shimura), Murakami risks his career — and his life — as he tries desperately to track down his gun before it is used again. Kurosawa makes audiences sweat as postwar Japan is in the midst of a heat wave, with Murakami, Sato, prostitute Harumi Namiki (Keiko Awaji), and others constantly mopping their brows, dripping wet. Inspired by the novels of Georges Simenon, Stray Dog is a dark, intense drama shot in creepy black and white by Asakazu Nakai and featuring a jazzy soundtrack by Fumio Hayasaka that unfortunately grows melodramatic in a few key moments — and oh, if only that final scene had been left on the cutting-room floor. Stray Dog will be screening at 11:00 am on June 3-5 as part of the IFC Center’s Weekend Classics — Kurosawa series, with half of the proceeds from all festival screenings benefiting Japan Society’s Earthquake Relief Fund. Upcoming screenings includeKagemusha (June 10-12), High and Low (June 17-19), and Dodes’ka-Den (June 24-26).

EAST HARLEM INTERNATIONAL FILM FESTIVAL

Heitor Dhalia’s ADRIFT kicks off the inaugural East Harlem International Film Festival tonight at the Poet’s Den

The Poet’s Den, 309 East 108th St.
The Museum of the City of New York, 1220 Fifth Ave.
The New York Academy of Medicine, 1216 Fifth Ave.
June 1-5, $12 per screening
www.ehiff.com

Founded by Raphael Benavides, Victor Cruz, and Yenny Love, the East Harlem International Film Festival kicks off its inaugural year tonight with two screenings of Heitor Dhalia’s Brazilian tale Adrift at the Poet’s Den and continues through June 5 with more than forty shorts, documentaries, and narratives shown there as well as at the Museum of the City of New York and the New York Academy of Medicine. Other full-length dramas include Eliana Ujueta’s Beneath the Rock, Albert Wu Tiange’s Ru Yun, Malcolm Goodwin’s True Story: Based on Things That Never Actually Happened . . . and Some That Did, Neerraj Pathak’s Right Yaaa Wrong, J. W. Cortes’s Conscientious Objector, and Olivier Bernier’s The Sunset Sky. Among the feature documentaries are Olumide Earth’s Feldstein, which looks at Mad magazine cofounder Al Feldstein; Ana Rokafella Garcia’s All the Ladies Say, about breakthrough female street dancers; and Iris Morales’s 1996 ¡Palante, Siempre Palante! The Young Lords, which examines Latino communities’ fight for equality led by the radical group. The festival will also host the panel discussions “The Perfect Cast,” “The World of Miedo: The Business of Horror,” “The Journey of a Film,” and “Go West, Young Actor: The Good, the Bad, and the Ugly of Being a West Coast or Bicoastal Actor,” the latter two events free and held at the East Harlem Café.

!WOMEN ART REVOLUTION (!W.A.R.)

!WOMEN ART REVOLUTION will make its theatrical debut this week at the IFC Center with appearances by several of the women featured in the film

!WOMEN ART REVOLUTION (!W.A.R.) (Lynn Hershman-Leeson, 2010)
IFC Center
323 Sixth Ave. at Third St.
June 1-7
212-924-7771
www.ifccenter.com
www.womenartrevolution.com

Since the mid-1960s, visual artist and educator Lynn Hershman Leeson has been tracing the history of the American feminist art movement, interviewing many of the most innovative and influential women artists of the last fifty years. After playing at the Sundance, Toronto, and Berlin Film Festivals, her documentary, !Women Art Revolution (!W.A.R.), opens June 1 at the IFC Center, with a series of special guests on hand at many of the screenings to talk about the revolution. Serving as director, writer, editor, producer, and narrator, Leeson shows works by and speaks with such seminal artists and art-world figures as Nancy Spero, Judy Chicago, Miranda July, Yvonne Rainer, Yoko Ono, Marcia Tucker, Martha Rosler, Miriam Schapiro, Carolee Schneemann, Marina Abramovic, Faith Ringgold, and the Guerrilla Girls, using new and archival footage that examines the growth of the movement. The film, which features an original soundtrack by Sleater-Kinney’s Carrie Brownstein, will run for one week at IFC, with the following special appearances, all with artist Alexandra Chowaniec: Leeson (6/1, 6:10), Leeson and Kathleen Hanna (6/1, 8:10), Howardena Pindell (6/2, 2:10), Carolee Schneemann (6/2, 6:10), J. Bob Alotta (6/2, 8:10), Janine Antoni (6/3, 12:15), Joyce Kozloff (6/3, 6:10), Martha Wilson (6/3, 8:10), Pindell (6/4, 2:10). B. Ruby Rich (6/4, 6:10 PM), Guerrilla Girls Frida Kahlo and Kathe Kollwitz (6/4, 8:10), Pindell (6/5, 2:10), Connie Butler (6/6, 4:10), Carey Lovelace (6/6, 6:10), and Lovelace and Faith Ringgold (6/7, 6:10). In addition, the full video and written transcripts of the interviews can be found online at the Stanford University Special Collections archive.