EYES WIDE OPEN examines forbidden passion at Jewish Film Festival
Walter Reade Theater
165 West 65th St. between Broadway & Amsterdam Ave.
January 13-28, $11
212-721-6500
www.filmlinc.com
The nineteenth annual Jewish Film Festival at Lincoln Center consists of thirty-two films, nearly every one a New York or U.S. premiere, examining topics both familiar and new, including photojournalism, Israeli cinema, WWII, the Middle East, religious tradition, homosexuality, anti-Semitism, and activism, ranging from Michaël Prazan’s three-hour EINSATGRUPPEN: THE DEATH BRIGADES to Adam Elliot’s claymation MARY AND MAX and restorations of Henry Lynn’s BAR MITZVAH (1935) and Falk Harnack’s THE AXE OF WANDSBEK (1951). This year’s crop once again comes from all over the Jewish diaspora, with feature-length narratives, shorts, and documentaries from Australia, Germany, France, Poland, Belgium, Romania, the Czech Republic, the Netherlands, the UK, Israel, and the United States. Ludi Boeken’s SAVIORS IN THE NIGHT, about German farmers protecting a Jewish family during World War II, is the opening-night selection, while Marleen Gorris’s WITHIN THE WHIRLWIND, about the struggles of poet and teacher Evgenia Ginzburg (Emily Watson), is the closing-night choice. Many of the films will feature introductions or postscreening discussions with directors, producers, and subjects. In addition to the Walter Reade Theater, several special screenings will take place at the JCC in Manhattan and the Jewish Museum.
Winner of numerous awards at film festivals all over the world, Adam Elliot’s stop-motion animated MARY AND MAX is the touching, unforgettable tale of two loners who become pen pals, sharing the details of their hopes and dreams over decades. Mary (voiced by Bethany Whitmore as a young girl and Toni Collette when she gets older) is an oddball child living in a small town in Australia. Seeking a friend, she sends a letter to a random person she finds in a phone book. Max (Philip Seymour Hoffman) is a childlike middle-aged man suffering from Asperger’s Disorder in New York City. Through the years, their long-distance relationship goes through emotional ups and downs, building to a surprising ending that still has us scratching our heads. Elliot, who won an Oscar for his short film HARVIE KRUMPET in 2003, wrote, directed, and designed the sets and characters for MARY AND MAX, inspired by the photography of Diane Arbus. He brings Mary and Max to life in charming ways, adding little details and flourishes that will endear you to them even though they both are very, very strange. The film, wonderfully narrated by Barry “Dame Edna” Humphries, required more than 130,000 individual frames and 212 puppets and took 57 weeks to shoot; the result is simply charming. MARY AND MAX is being shown this weekend at Lincoln Center as part of the New York Jewish Film Festival; executive producer Paul Hardart will be in attendance at the January 23 screening. (The film is also part of the 
Akira Kurosawa’s powerful psychological drama begins with a jazzy score over shots of a bustling Japanese city, people anxiously hurrying through as a Theremin joins the fray. But this is no Hollywood film noir or low-budget frightfest; Kurosawa’s daring film is about the end of old Japanese society as the threat of nuclear destruction hovers over everyone. A completely unrecognizable Toshiro Mifune stars as Nakajima, an iron foundry owner who wants to move his large family — including his two mistresses — to Brazil, which he believes to be the only safe place on the planet where he can survive the H bomb. His immediate family, concerned more about the old man’s money than anything else, takes him to court to have him declared incompetent; there he meets a dentist (the always excellent Takashi Shimura) who also mediates such problems — and fears that Nakajima might be the sanest one of all.
Japanese novelist Kôbô Abe and director Hiroshi Teshigahara collaborated on five films together, including the marvelously existential WOMAN OF THE DUNES in 1964 and THE FACE OF ANOTHER two years later. In THE FACE OF ANOTHER, Tatsuya Nakadai (THE HUMAN CONDITION, KILL!) stars as Okuyama, a man whose face has virtually disintegrated in a laboratory accident. He spends the first part of the film with his head wrapped in bandages, a la the Invisible Man, as he talks about identity, self-worth, and monsters with his wife (Machiko Kyo), who seems to be growing more and more disinterested in him. Then Okuyama visits a psychiatrist (Mikijirô Hira) who is able to create a new face for him, one that would allow him to go out in public and just become part of the madding crowd again. But his doctor begins to wonder, as does Okuyama, whether the mask has actually taken control of his life, making him as helpless as he was before.