this week in film and television

ABBAS KIAROSTAMI — A RETROSPECTIVE: FIVE DEDICATED TO OZU

Five Dedicated to Ozu is screening as part of tribute to Abbas Kiarostami at IFC Center

FIVE DEDICATED TO OZU (Abbas Kiarostami, 2003)
IFC Center
323 Sixth Ave. at West Third St.
Saturday, August 10, 7:30, and Wednesday, August 14, 5:05
Series continues through August 14
212-924-7771
www.ifccenter.com

We first saw Abbas Kiarostami’s gorgeous five-part film Five Dedicated to Ozu at the Iranian director’s 2007 multidimensional MoMA exhibit, “Image Maker,” where all five segments ran continuously and simultaneously in five semiprivate partitioned spaces, each with its own comfy bench. The film as a whole, which is composed of static shots on a beach in Galicia, are dedicated to Japanese director Yasujirō Ozu, whose films attempted to catch the reality of human existence in all its simplicity. In the first episode, the coming waves threaten a piece of driftwood; we dare you not to create your own narrative in your head once the wood is split apart. (By the way, this is the only part of the film that includes any camera movement at all, as Kiarostami opts to follow the driftwood for one short moment.) For the second scene, the camera is moved to the boardwalk, with people passing to the right and left as the surf continues to crash onto the shore; this is the least compelling of the five pieces. Back on the beach for the third part, the camera finds a group of stray dogs in the distance, nestled together by the water; again, as one dog gets up and moves away, left to himself, you’ll create your own ideas about what is really happening. Next is the funniest section of the movie, as a long line of ducks don’t know whether they’re coming or going, but they do so determinedly. Finally, the last scene takes place at night, as the moon glistens in a dark sky as the sounds of frogs and nature envelop this small part of the earth. Relax and let your mind wander during this fascinating and fun cinematic experience that we found exhilarating as a single work — but we also loved how it was installed at MoMA, where you could sit down with any of the films at any time and just let them take you away. Five Dedicated to Ozu is screening the conventional way on August 10 and 14 in IFC’s comprehensive series “Abbas Kiarostami: A Retrospective,” which continues through August 15 with such other films by the Iranian director as The Traveler, Close-Up, Like Someone in Love, 24 Frames, and numerous shorts.

ABBAS KIAROSTAMI — A RETROSPECTIVE: CLOSE-UP

Hossain Sabzian has to explain why he impersonated Mohsen Makhmalbaf in Abbas Kiarostami’s Close-Up

CLOSE-UP (کلوزآپ ، نمای نزدیک‎) (Abbas Kiarostami, 1990)
IFC Center
323 Sixth Ave. at West Third St.
Wednesday, August 7, 7:50, Saturday, August 10, 1:10, Monday, August 12, 1:05, Tuesday, August 13, 7:30
Series continues through August 15
212-924-7771
www.ifccenter.com/films/close-up

In his 1996 short Opening Day for Close-Up, Italian actor-writer-director Nanni Moretti plays a theater manager preparing to show Abbas Kiarostami’s 1990 masterpiece, Close-Up. As the first screening approaches, he worries about the parking situation, the size of the ad in the local paper, the specific angle the projectionist is using, the precise minute when the film should start, how it’s going to compete with big Hollywood blockbusters, and how one of his employees is handling phone calls. “The film is about the power of cinema. Let’s be a little more enticing,” he tells her. It won’t take much enticing to get people to show up at IFC Center to see Close-Up, which is screening August 7, 10, 12, and 13 in the exhaustive, comprehensive series “Abbas Kiarostami: A Retrospective.”

In 1989, Kiarostami read about a strange case that was unfolding: A man named Hossain Sabzian had been arrested for impersonating Iranian auteur Mohsen Makhmalbaf, convincing the Ahankhah family that he was Makhmalbaf and that he was going to make a movie with them in their house. Kiarostami immediately turned his attention to the story, meeting with Sabzian in prison, persuading judge Haj Ali Reza Ahmadi to let his crew film the trial, and getting all the participants, including Sabzian, Ahmadi, journalist Hossain Farazmand, and the Ahankhahs — husband and father Abolfazl, his wife, Mahrokh, and their sons, Mehrdad and Monoochehr — to allow themselves not only to be filmed going forward but to re-create specific scenes together. Thus, for example, Kiarostami restages Mahrokh’s initial encounter with Sabzian on a bus, where they talk about Makhmalbaf’s The Cyclist, and Sabzian’s arrest is also performed, complete with soldier (Mohammad Ali Barrati) and sergeant (Davood Goodarzi).

Abbas Kiarostami on the set of his 1990 masterpiece, Close-Up

It’s often difficult to tell what is happening in the present and what has been remade from the past, which is a significant part of the film’s charm. The trial scene is an eye-opener as we watch the Iranian justice system at work; Kiarostami shoots the scene with different equipment, resulting in a grainier texture. Part of the boom mic is often visible, further blurring the lines between fiction and nonfiction, reminding us that this is a film. Kiarostami also injects some pure poetry, most beautifully when the taxi driver (Hooshang Shamaei) picks a few flowers outside the Ahankhahs’ home, then kicks a green and pink aerosol can that cinematographer Ali Reza Zarrindast follows as it clinks noisily down the street. Close-Up is much more than a celebration of the power of cinema; it is a magisterial film about what makes us profoundly human. (You can find out more about Sabzian in Moslem Mansouri and Mahmoud Chokrollahi’s 1996 Close-Up Long Shot.) “Abbas Kiarostami: A Retrospective” continues through August 15 with such other films by the Iranian director as Through the Olive Trees, The Wind Will Carry Us, Taste of Cherry, Ten, and numerous shorts.

ABBAS KIAROSTAMI — A RETROSPECTIVE: LIKE SOMEONE IN LOVE

The lives of three very different individuals intertwine in Abbas Kiarostami’s remarkable Like Someone in Love

LIKE SOMEONE IN LOVE (Abbas Kiarostami, 2012)
IFC Center
323 Sixth Ave. at West Third St.
Tuesday, August 6, 12:55, Friday, August 9, 1:05, and Tuesday, August 13, 12:30
Series continues through August 15
212-924-7771
www.ifccenter.com

Following the Tuscany-set Certified Copy, his first film made outside of his home country, master Iranian auteur Abbas Kiarostami headed to Japan for the beautifully told Like Someone in Love. Rin Takanashi stars as Akiko, a sociology student supporting herself as an escort working for bar owner and pimp Hiroshi (Denden). An older, classy businessman, Hiroshi insists that Akiko is the only person to handle a certain client, so, despite her loud objections, she is put in a cab and taken to meet Takashi (Tadashi Okuno), an elderly professor who seems to just want some company. But soon Akiko unwittingly puts the gentle old man in the middle of her complicated life, which includes her extremely jealous and potentially violent boyfriend, Noriaki (Ryō Kase), and a surprise visit from her grandmother (Kaneko Kubota). Taking its title from the song made famous by, among others, Ella Fitzgerald, Like Someone in Love is an intelligent character-driven narrative that investigates different forms of love and romance in unique and engaging ways. Kiarostami (Taste of Cherry, Close-Up) and cinematographer Katsumi Yanagijima, who has worked on numerous films by Takeshi Kitano, establish their visual style from the very beginning, as an unseen woman, later revealed to be Akiko, is on the phone lying to her abusive boyfriend about where she is, the camera not moving for extended periods of time as people bustle around her in a crowded bar.

As is often the case with Kiarostami, much of the film takes place in close quarters, including many in cars, both moving and parked, forcing characters to have to deal with one another and face certain realities they might otherwise avoid. Takanashi is excellent as Akiko, a young woman trapped in several bad situations of her own making, but octogenarian Okuno steals the show in the first lead role of a long career that has primarily consisted of being an extra. The soft look in his eyes, the tender way he shuffles through his apartment, and his very careful diction are simply captivating. Despite his outstanding performance, Okuno said at the time that he was committed to returning to the background in future films, shunning the limelight, but he did star in one more film, Yûichi Onuma’s Kuujin in 2016. A music-filled tale that at times evokes the more serious work of Woody Allen, another director most associated with a home base but who made movies in other cities for a lengthy period, Like Someone in Love is like a great jazz song, especially one in which the notes that are not played are more important than those that are. The film is screening August 6, 9, and 13 in IFC’s comprehensive series “Abbas Kiarostami: A Retrospective,” which continues through August 15 with such other films by Kiarostami, who died in 2016 at the age of seventy-six, as Homework, 10 on Ten, ABC Africa, Shirin, and numerous shorts.

TICKET ALERT: EASY RIDER LIVE

Dennis Hopper, Peter Fonda, and Jack Nicholson play a trio who get their motor running and head out on the highway in Easy Rider, celebrating its golden anniversary September 20 at Radio City Music Hall

EASY RIDER (Dennis Hopper, 1969)
Radio City Music Hall
1260 Sixth Ave. at Fiftieth St.
Friday, September 20, 8:00 — tickets go on sale August 2 at noon
212-465-6000
www.msg.com

Fifty years ago, a film came along that perfectly captured sociopolitical changes taking place across America; the golden anniversary of that revolutionary tale is being celebrated on September 20 at Radio City Music Hall with a special one-night-only screening introduced by one of the stars and featuring songs played live by some of the original artists. Tickets go on sale at noon on August 2 for Easy Rider Live, a gala presentation of a newly remastered print of Dennis Hopper’s seminal film, which was named Best First Work at Cannes, with opening remarks by costar Peter Fonda and live performances by Roger McGuinn, John Kay of Steppenwolf, and special guests, produced by T Bone Burnett.

No mere relic of the late 1960s counterculture movement, Easy Rider still holds up as one of the truly great road movies, inviting audiences to climb on board as two peace-loving souls search for freedom on the highways and byways of the good ol’ U.S. of A. Named after a pair of famous western gunslingers, Wyatt (producer and cowriter Fonda), as in Earp, and Billy (director and cowriter Hopper), as in “the Kid,” make some fast cash by selling coke to a fancy connection (Phil Spector!), then take off on their souped-up bikes, determined to make it to New Orleans in time for Mardi Gras. Along the way, they break bread with a rancher (Warren Finnerty) and his family, hang out in a hippie commune, pick up small-town alcoholic lawyer George Hanson (an Oscar-nominated Jack Nicholson), don’t get served in a diner, and eventually hook up with friendly prostitutes Karen (Karen Black) and Mary (Toni Basil) in the Big Easy. “You know, this used to be a helluva good country. I can’t understand what’s gone wrong with it,” George says to Billy as they start discussing the concept and reality of freedom. “Oh, yeah, that’s right. That’s what it’s all about, all right. But talkin’ about it and bein’ it, that’s two different things. I mean, it’s real hard to be free when you are bought and sold in the marketplace. Of course, don’t ever tell anybody that they’re not free, ’cause then they’re gonna get real busy killin’ and maimin’ to prove to you that they are. Oh, yeah, they’re gonna talk to you, and talk to you, and talk to you about individual freedom. But they see a free individual, it’s gonna scare ’em.”

easy rider live

The always calm Wyatt, who is also known as Captain America, and the nervous and jumpy Billy make one of cinema’s coolest duos ever as they personally experience the radical changes going on in the country, leading to a tragic conclusion. The Academy Award–nominated script, written with Terry Southern, remains fresh and relevant as it examines American capitalism and democracy in a way that is still debated today, particularly on Twitter. And the soundtrack — well, it virtually defined the era, featuring such songs as Steppenwolf’s “The Pusher” and “Born to Be Wild,” Jimi Hendrix’s “If 6 Was 9,” the Electric Prunes’ “I Had Too Much to Dream (Last Night),” the Chambers Brothers’ “Time Has Come Today,” Thunderclap Newman’s “Something in the Air,” and McGuinn’s “Ballad of Easy Rider.” The Radio City event should offer contemporary insight on just how far we’ve come — or haven’t — in half a century.

FIRST SATURDAYS: BIG UH YUHSELF

Liz Johnson Artur, Josephine, Peckham, chromogenic photograph, 1995 (courtesy of the artist / © Liz Johnson Artur)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, August 3, free (some events require advance tickets), 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum gets ready for the West Indian American Day Carnival on Labor Day in the August edition of its free First Saturday program. There will be live performances by Los Habaneros, DJ I.M., DJ TYGAPAW, and Noise Cans; a hands-on workshop in which participants can make Caribbean carnival masks; a Flag Fête workshop and performance with Haitian choreographer and dance instructor Charnice Charmant and Afrobeat dancers; teen pop-up gallery talks on “Liz Johnson Artur: Dusha”; a screening of Khalik Allah’s Black Mother, followed by a talkback with Allah and curator Drew Sawyer; Likkle Bites with food from Caribbean-owned Brooklyn businesses Greedi Vegan and Island Pops; an artist talk with Liz Johnson Artur; and the discussion “Yoruba in Pop Culture” with Grammy winner Chief Ayanda Clarke, presented by the Fadara Group. In addition, the galleries will be open late so you can check out “Garry Winogrand: Color,” “Nobody Promised You Tomorrow: Art 50 Years After Stonewall,” “Eric N. Mack: Lemme walk across the room,” “Liz Johnson Artur: Dusha,” “One: Egúngún,” “Pierre Cardin: Future Fashion,” “Infinite Blue,” “Rembrandt to Picasso: Five Centuries of European Works on Paper,” and more.

FESTIVAL OF CINEMA NYC 2019

Jaleel White stars in Camilo Vila’s 5th of July, which kicks off Queens film fest

Regal UA Midway Theater, Queens Library at Forest Hills, Queens Museum, Queens Brewery
August 2-11
www.festivalofcinemanyc.com

Forest Hills continues its ascent in the film world with the third annual Festival of Cinema NYC, which kicks off August 2 with Hannah Elless’s short Nora Ephron Goes to Prison and the East Coast premiere of Camilo Vila’s 5th of July, about a series of events that befall a man (played by Jaleel White) after the fireworks are over. The films will be preceded by a red carpet and followed by an after-party. The fest continues through August 11, with twenty narrative features, seven documentaries, a handful of free events, and more than seventy international shorts in addition to web series and animation, experimental works, and music videos. On August 7, Indie Film Collective will present the 72 Hour Short Film Challenge, consisting of a dozen shorts made in three days starting with a line of dialogue, a prop, and a genre. You can find out more about Indie Film Collective at a panel on August 6 with founder and creative director Joseph Eulo and his team.

Drew Barnhardt’s wild Rondo screens at the Festival of Cinema on August 9 just before midnight

Drew Barnhardt’s wild Rondo screens at the Festival of Cinema NYC on August 9 just before midnight

The Queens Library at Forest Hills and the Queens Museum will be home to several free programs (advance registration required), including “A Different Perspective — a Series of Experimental Films from Around the World,” “Monuments & Flowers” (by Arte East), “Race, Sex & Hold the Mayo!” (by the Asian American Film Lab), Surviving Birkenau: The Dr. Susan Spatz Story followed by a Q&A with director Ron Small, Carnaval de Cuba followed by a Q&A with director Roberto Monticello, and the New York premiere of Matej B. Silecky’s Baba Babee Skazala: Grandmother Told Grandmother. The closing night films on August 10 are Santiago Rizzo’s Quest — the Truth Always Rises, about a troubled middle schooler obsessed with tagging, and Francesco Filippi’s half-hour animated Red Hands, followed by the awards dinner celebration on August 11 at the Queens Brewery.

JAY MYSELF

Photographer Jay Maisel goes through decades of stuff as he moves out of longtime East Village home in Jay Myself

JAY MYSELF (Stephen Wilkes, 2018)
Film Forum
209 West Houston St.
Opens Wednesday, July 31
212-727-8110
filmforum.org

In 1966, Brooklyn-born photographer Jay Maisel moved into the 1898 Germania Bank Building on the corner of Bowery and Spring, purchased with a now astonishing $25,000 down payment. Nearly fifty years later, in early 2015, after decades of taking pictures and collecting tens of thousands of random items, he was forced to sell the graffiti-laden, six-floor, 36,000-square-foot property because of rising maintenance costs; at fifty-five million dollars, it was the largest private real estate deal in New York history. One of his protégés, Stephen Wilkes — who back in the 1970s knocked on Maisel’s door and showed him his portfolio — documents Maisel’s months-long exit from the landmark building as he and a team of assistants sift through the maelstrom and Maisel regales him with stories from his career, which has included shooting for advertising agencies, Sports Illustrated, New York magazine, and jazz legends. “Objects are there for you only if you really see them. If you don’t, they don’t exist. And a lot of people don’t see things,” Maisel philosophizes. “Before you’re going to be able to see, you have to look. And before you can look, you have to want to look. And art is, to some effect, trying to make others see what you see.”

Documentary follows Jay Maisel’s nearly fifty-year history in the Bank on Spring & Bowery

Maisel, a calm man with a penchant for littering his sentences with curses, leads Wilkes through the six floors, showing items from his vast collection, one that borders on hoarding. “Each floor represented a certain partition of his mind,” Wilkes explains. Wilkes speaks with such other photographers as Jeff Dunas, Duane Michals, Dan Winters, Peter Murphy, Matt Dean, Hale Gurland, Barbara Bordnick, Jamie Smith, and Melchior DiGiacomo, who rave about Maisel’s influence and his iconoclastic personality. “He sees all this potential in things that no one else would. He just has such a sense of play,” his daughter, Amanda, says. Maisel, who carries a camera everywhere he goes, constantly snapping pictures, adds, “What I’m trying to do all the time is to try and see things anew, to see things the way a child would see them.”

The quintessentially New York documentary doesn’t dig too deep into his personal life and tends to be overly worshipful, but Maisel, who turned eighty-eight earlier this year, is an engaging character, chomping on a cigar, telling of his studies at Yale with Josef Albers, and going through boxes and boxes (and boxes and boxes) of stuff — what many would call junk — that he refuses to part with as the team from Moishe’s is faced with a virtually impossible situation. “I think there’s a delight in the perception and the enjoyments of objects,” he notes. There’s also a delight and enjoyment in watching this mensch over the course of seventy-eight minutes. Jay Myself opens at Film Forum on July 31, with Maisel and Wilkes participating in Q&As at several shows from July 31 to August 4.