Big Apple Film Festival will celebrate twentieth anniversary of GOODFELLAS with special guests
Tribeca Cinemas
54 Varick St. at Laight St.
November 2-6, $20 per program
www.bigapplefilmfestival.com
www.tribecacinemas.com
The seventh annual Big Apple Film Festival gets under way November 2, kicking off five days of screenings of more than one hundred shorts and features, focusing on independent cinema in New York and around the country. The first few days include a diverse range of films, including Marvin Suarez’s ZOMBIE CHRONICLES: THE INFECTED, Aaron Kodz’s DYING LOVE, Adam Reid’s HELLO LONESOME, Jonathan Furmanski’s THE WEIRD WORLD OF BLOWFLY, Adam Blank’s ADAM BLANK GETS A VASECTOMY, and Amy Glazer’s SEDUCING CHARLIE BARKER. Among the more New York–centric flics are Roger Sherman’s THE RESTAURATEUR, about Danny Meyer; Alexandra Schwimmer’s VERTICAL VILLAGE, about the Seward Park Cooperative; Michael Gartland and Robert Weiss’s YANKEELAND: IN THE SHADOW OF THE STADIUM; and Monty Diamond’s WORLD TRADE CENTER IN THE MOVIES. The festival comes to a close Saturday with some all-star programs, beginning with a panel discussion on “DIY Distribution” and concluding with screenings of DG Brock’s MONTANA AMAZON: THE ADVENTURES OF THE DUNDERHEADS, which will be followed by a Q&A with star Haley Joel Osment; Thomas LaSorsa’s CIRCUS MAXIMUS, followed by the presentation of the Golden Apple Award to Kevin Corrigan and the Spirit of New York Award to Mario Cantone; and a twentieth-anniversary celebration of Martin Scorsese’s gangster classic GOODFELLAS, with special guests hosted by Tony Darrow.
Akira Kurosawa’s marvelous reimagining of MACBETH is an intense psychological thriller that follows one man’s descent into madness. Following a stunning military victory led by Washizu (Toshirô Mifune) and Miki (Minoru Chiaki), the two men are rewarded with lofty new positions. As Washizu’s wife, Asaji (Isuzu Yamada, with spectacular eyebrows), fills her husband’s head with crazy paranoia, Washizu is haunted by predictions made by a ghostly evil spirit in the Cobweb Forest, leading to one of the all-time classic finales. Featuring exterior scenes bathed in mysterious fog, interior long shots of Washizu and Asaji in a large, sparse room carefully considering their next bold move, and composer Masaru Sato’s shrieking Japanese flutes, THRONE OF BLOOD is a chilling drama of corruptive power and blind ambition, one of the greatest adaptations of Shakespeare ever put on film. BAMcinématek is screening the film in conjunction with the centennial of Kurosawa’s birth and the Next Wave Festival presentation of Ping Chong’s theatrical version of 
Hélène Cattet and Bruno Forzani’s complex genre exercise, AMER, revisits and reimagines the Italian giallo films from the 1960 and ’70s, made by such masters as Dario Argento, Lucio Fulci, and Mario Bava. Hyperstylized with deep, lush colors, minimal dialogue, and surreal, erotic imagery, AMER, which means bitter, is a different kind of coming-of-age story, told in three sections. The protagonist, Ana, is first seen as a young girl (Cassandra Forêt) trying to avoid the woman in black living in the closet and wondering if her decrepitly dead grandfather will wake up. In the second part, Ana (Charlotte Eugène-Guibbaud) is a teenager discovering her sexuality and its power as she walks seductively by a motorcycle gang, the wind gently lifting the hem of her dress. In the final section, Ana (Marie Bos) is a grown woman returning to her ancestral home — and the ghosts and memories she left behind. Cattet and Forzani favor extreme close-ups and voyeuristic shots, with eyes peering through keyholes and looking at Ana with various types of desire. While they nail the style — they even use music from earlier giallo films — they are severely lacking in substance. What narrative there is gets particularly derailed in the second segment, replaced by uncomfortable scenes that feel like a separate short film or a European advertisement; in fact, the filmmakers have spent most of their career making shorts. AMER is beautiful to look at and listen to, with danger lurking around every corner, but it tries too hard to be true to its genre forebears’ shortcomings instead of improving on it.
In 2006, documentarian Doug Block released 51 BIRCH STREET, a deeply personal examination of his parents’ marriage as well as his own tense relationship with his father. He has followed that up with another intimate, revealing family portrait, THE KIDS GROW UP, this time focusing on his relationship with his daughter, Lucy, as she prepares to leave their Stuyvesant Town home to go to college in California. Block has been recording as much of Lucy’s life as he can since she was a small child, continually asking her what she wants to be when she grows up and leaving the camera on even during uncomfortable moments when it’s clear she doesn’t want to be filmed. At one point, Lucy can be seen mouthing the words “Stop it” and “Turn it off” at her father, who doesn’t at first. Perhaps most telling is his obsession with one scene in which the sound didn’t work during a conversation he had with her; he admits to being haunted by what is missing. He also films his wife as she lies in bed, suffering from a debilitating depression, and talks to his father about the elder Block’s parental shortcomings as if he were discussing the weather. And it’s hard not to be taken aback when he says he has little interest in his stepson’s newborn baby as the whole family is gathered in the hospital room, the mother cradling her six-day-old infant. THE KIDS GROW UP is no mere extended home movie; Lucy is an engaging character who shines on camera, but as much as the film is about her maturation, it is also about her father’s coming to terms with his daughter’s imminent departure. Block is not ready for his baby girl to not be there day in and day out, and he’s particularly troubled when she gets a French boyfriend, Romain George, while studying overseas. Marjorie and Doug are modern parents who allow their daughter the freedom to do as she chooses, but audiences will feel Doug’s palpable jealousy and how uncomfortable he must be as he films Lucy and Romain together on a couch, Romain lovingly stroking Lucy’s inner thigh right in front of her father, who, once again, keeps the camera rolling. The plural in the title is no accident; the “kids” refer not only to children in general but specifically to Lucy and Doug, who is described by his wife as a Peter Pan-like figure who still hasn’t grown up. THE KIDS GROW UP is a compelling, brutally honest look at a man who is not ashamed of his very distinctive view of his family and himself, warts and all.