Ilana Rothman’s AN OPEN INVITATION: A REAL SWINGERS PARTY IN SAN FRANCISCO is part of annual CineKink festival
Anthology Film Archives
32 Second St. at Second Ave.
March 1-6, individual programs $9-$12, parties $10-$30, All-Access Pass $60-$80
www.cinekink.com
Last month, the Quad presented “A Week of Sex in Cinema,” featuring such controversial films as Lars von Trier’s Antichrist, Michael Winterbottom’s 9 Songs, and Jean-Jacques Beineix’s Betty Blue, which all pushed the boundaries of on-screen sex. Well, the annual Cinekink festival cuts right to the chase, focusing on the sex and not the controversy. Running March 1-6, Cinekink will be hosting such programs as “Kink Crusaders,” “Sexual Radar,” “Crave,” “Adventures in the Skin Trade,” “Porn Again,” and “Lust, Love, Life,” showing such films as Love Hotel, Hooka Face and the Virgin Boy, Teat Beat of Sex, Artcore, Trannywood Gone Wild, The Erotic Couch, Billy Castro Does the Mission, GayKeith, Return of the Post Apocalyptic Cowgirls, 52 Takes of the Same Thing. Then Boobs, Chained! and Passion, Fruit. The kick-off party takes place tonight at Taj Lounge, followed by screenings at Anthology Film Archives.
Michelle Williams was nominated for a Best Actress Oscar for her performance as a disgruntled wife in Blue Valentine, but the movie really belongs to Ryan Gosling, who is heartbreaking as a husband trying to repair a dissolving relationship. Derek Cianfrance’s second film took a long time to get made — his feature debut, Brother Tied, came out in 1998 — but that extended gestation period allowed it to develop into a unique, original examination of a marriage in trouble. Set in Brooklyn and Scranton, Blue Valentine bounces back and forth between Dean (Gosling) and Cindy’s (Williams) courtship and a modern-day weekend in which they try to recapture that magic that got it all started. Much of the dialogue is improvised and scenes were often shot in just one take, giving the film an organic, realistic feel. Cianfrance occasionally uses nonprofessional actors to heighten believability; for example, the movers and their boss actually do work for the Brooklyn moving company where Dean is temporarily employed. Cianfrance cleverly manipulates the past with the present to develop the characters; interestingly, after introducing viewers to the growing relationship between Dean and Cindy, he shows her making love to her high school boyfriend, Bobby (Mike Vogel), as if she is cheating on her future husband, creating an uncomfortable feeling that directly impacts the way we interpret their contemporary struggle. The sex scenes, both between Dean and Cindy and Bobby and Cindy, are extremely graphic, initially threatening to burden the film with an NC-17 rating that the Weinstein Company successfully appealed just prior to release. Featuring a score by popular indie band Grizzly Bear, Blue Valentine is one of the best films of 2010, a powerful, very adult romantic drama that will leave you clutching tightly to your loved ones.
Returning home after having been hospitalized for mental reasons, sisters Su-mi (Im Su-jeong) and Su-yeon (Moon Geun Young) find their house very different — in addition to their father (Kim Kap-su) and his second wife, Eun-joo (Yeom Jeong-ah), there appears to be an unexplained presence that seems particularly interested in the extremely vulnerable Su-yeon. As tensions mount between the girls and the wicked stepmother, more and more blood shows up, as well as far too many confusing twists and turns. Though there is a lot to admire in this gripping psychological thriller, you’ll be scratching your head at the end, wondering just what the heck you have just seen. An Asian mix of The Sixth Sense (M. Night Shyamalan, 1999), Sisters (Brian DePalma, 1973), and the Cinderella fairy tale, Kim Jee-woon’s film has plenty of creeps that unfortunately never come together. Still, it was recently remade by Hollywood as The Uninvited, directed by Charles and Thomas Guard and starring David Strathairn and Elizabeth Banks.
Filmed on location in and around Tehran’s Azadi Stadium and featuring a talented cast of nonprofessional actors, Jafar Panahi’s Offside is a brilliant look at gender disparity in modern-day Iran. Although it is illegal for girls to go to soccer games in Iran — because, among other reasons, the government does not think it’s appropriate for females to be in the company of screaming men who might be cursing and saying other nasty things — many try to get in, facing arrest if they get caught. Offside is set during an actual match between Iran and Bahrain; a win will put Iran in the 2006 World Cup. High up in the stadium, a small group of girls, dressed in various types of disguises, have been captured and are cordoned off, guarded closely by some soldiers who would rather be watching the match themselves or back home tending to their sheep. The girls, who can hear the crowd noise, beg for one of the men to narrate the game for them. Meanwhile, an old man is desperately trying to find his daughter to save her from some very real punishment that her brothers would dish out to her for shaming them by trying to get into the stadium. Despite its timely and poignant subject matter, Offside is a very funny film, with fine performances by Sima Mobarak Shahi, Shayesteh Irani, Ida Sadeghi, Golnaz Farmani, Mahnaz Zabihi, and Nazanin Sedighzadeh as the girls and M. Kheymeh Kabood as one of the soldiers.
One of the craziest movies ever made, Nobuhiko Obayashi’s 1977 cult classic, HOUSE (HAUSU), is finally getting its first-ever U.S. theatrical release, in a new 35mm print at the IFC Center. Truly one of those things that has to be seen to be believed, HOUSE is a psychedelic black horror comedy musical about Gorgeous (Kimiko Ikegami) and six of her high school friends who choose to spend part of their summer vacation at Gorgeous’s aunt’s (Yoko Minamida) very strange house. Gorgeous, whose mother died when she was little and whose father (Saho Sasazawa) is about to get married to Ryoko (Haruko Wanibuchi), brings along her playful friends Melody (Eriko Ikegami), Fantasy (Kumiko Oba), Prof (Ai Matsubara), Sweet (Masayo Miyako), Kung Fu (Miki Jinbo), and Mac (Mieko Sato), who quickly start disappearing like ten little Indians. HOUSE is a ceaselessly entertaining head trip of a movie, a tongue-in-chic celebration of genre with spectacular set designs by Kazuo Satsuya, beautiful cinematography by Yoshitaka Sakamoto, and a fab score by Asei Kobayashi and Mickie Yoshino. The original story actually came from the mind of Obayashi’s eleven-year-old daughter, Chigumi, who clearly has one heck of an imagination. Oh, and we can’t forget about the evil cat, a demonic feline to end all demonic felines. The film was released last year prior to its appearance on DVD from Janus, the same company that puts out such classic fare as Federico Fellini’s AMARCORD, Akira Kurosawa’s RASHOMON, Jacques Tati’s M. HULOT’S HOLIDAY, François Truffaut’s SHOOT THE PIANO PLAYER, Jean Renoir’s THE RULES OF THE GAME, and Jean-Luc Godard’s VIVRE SA VIE, so HOUSE has joined some very prestigious company. And who are we to say it doesn’t deserve it?