this week in film and television

THE CRANES ARE FLYING 2K RESTORATION

Sergey Urusevsky’s dazzling camera work is a character unto itself in The Cranes Are Flying

THE CRANES ARE FLYING (Mikhail Kalatozov, 1957)
Film Forum
209 West Houston St.
Opens Friday, July 12
212-727-8110
filmforum.org

Even at a mere ninety-seven minutes, Mikhail Kalatozov’s The Cranes Are Flying, having a weeklong revival July 12-18 at Film Forum in a 2K restoration, is a sweeping Russian antiwar epic, an intimate and moving black-and-white tale of romance and betrayal during WWII. Veronika (Tatyana Samojlova) and Boris (Aleksey Batalov) are madly in love, swirling dizzyingly through the streets and up and down a winding staircase. But when Russia enters the war, Boris signs up and heads to the front, while Veronika is pursued by Boris’s cousin, Mark (Aleksandr Shvorin). Pining for word from Boris, Veronika works as a nurse at a hospital run by Boris’s father, Fyodor Ivanovich (Vasili Merkuryev), as the family, including Boris’s sister, Irina (Svetlana Kharitonova), looks askance at her relationship with Mark. The personal and political intrigue comes to a harrowing conclusion in a grand finale that for all its scale and scope gets to the very heart and soul of how the war affected the Soviet people on an individual, human level, in the family lives of women and children, lovers and cousins, husbands and wives.

Unforeseen circumstances trap Veronika (Tatyana Samojlova) in wartime Russia in Mikhail Kalatozov’s masterful The Cranes Are Flying

The only Russian film to win the Palme d’Or at Cannes by itself, The Cranes Are Flying is a masterful work of art, a searing portrait of the horrors of war as seen through the eyes of one desperate woman. Adapting his own play, Viktor Rozov’s story sets up Boris and his family as a microcosm of Soviet society under Stalin; it’s no coincidence that the film was made only after the leader’s death. It’s a whirlwind piece of filmmaking, a marvelous collaboration between director Kalatozov, editor Mariya Timofeyeva (Ballad of a Soldier), composer Moisey Vaynberg (the opera The Passenger), and cinematographer Sergey Urusevsky, who also worked with Kalatozov on I Am Cuba and The Unsent Letter; Urusevsky’s camera, often handheld, is simply dazzling, whether moving through and above crowd scenes, closing in on Samojlova’s face and Batalov’s eyes, or twirling up at the sky. Poetic and lyrical, heartbreaking and maddening, The Cranes Are Flying is an exquisite example of the power of cinema.

SECRET HISTORIES — THE FILMS OF KEVIN RAFFERTY & FRIENDS: THE ATOMIC CAFE

America prepares for the bomb in The Atomic Cafe, recently restored documentary about the Cold War

THE ATOMIC CAFE (Kevin Rafferty, Jayne Loader & Pierce Rafferty, 1982)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
Saturday, July 13, 6:30
Series runs July 12-14
212-660-0312
metrograph.com

The time is ripe for a 4K restoration of the absurdist 1982 documentary The Atomic Cafe as President Trump deals with the nuclear capabilities and arsenals of Russia, Iran, and North Korea. Kevin Rafferty, Jayne Loader, and Pierce Rafferty were searching archives for propaganda films when they discovered a treasure trove of military and government shorts about the atomic and hydrogen bombs and how the American people should face any oncoming threats. The three filmmakers, who will be at Metrograph on July 13 at 6:30 to introduce a special screening of the 2018 restoration, weaved sensational footage together into an hour and a half of clips that range from the hysterically funny to the dangerously outrageous. Young students are taught to “duck and cover.” Enola Gay pilot Paul Tibbets Jr. describes how easy it was to fly over Hiroshima and drop the bomb but then admits his shock over the eventual destruction it wrought. Presidents Harry S Truman and Dwight D. Eisenhower discuss the impact of the bombs. A radio duo makes jokes about the decimation. Scenes of the horrific damage to Japanese victims are shown in silence. Vice Admiral W. H. P. Blandy defends the Bikini Atoll test, where island residents are assured everything will be fine — as are soldiers who will be in the vicinity of various tests.

While Russia escalates the Cold War — yes, they were our avowed enemy for quite some time, although the film includes President Richard Nixon joking around with Soviet premier Nikita Khrushchev — and a battle between North and South Korea looms, Americans drink “Atomic” cocktails and dance to “Atomic” songs. The execution of Ethel Rosenberg is explained in disturbing detail. A military officer tells the troops, “Watched from a safe distance, this explosion is one of the most beautiful sights ever seen by man,” and in a training film a military chaplain says to a few soldiers, “You look up and you see the fireball as it ascends up into the heavens; it’s a wonderful sight to behold.” Loader and the Raffertys fill the film with a vast array of black-and-white and color footage of nuclear bombs exploding into immense mushroom clouds, accompanied by a wide range of mood-enhancing music. It would be easy to dismiss most of the archival material in the film as ridiculous, outdated propaganda from a bygone era, but in this age of fake news, social media, lies from the White House, a war on journalism, and a president cozying up to enemies and taking issue with longtime allies, it’s more than a little bit frightening too. The Atomic Cafe is screening in the three-day series “Secret Histories: The Films of Kevin Rafferty & Friends,” which runs July 12-14 and also includes 1991’s Blood in the Face, 1992’s Feed, 1999’s The Last Cigarette, and 2008’s Harvard Beats Yale 29-28, offering unique looks at parts of the American experience.

JANET BIGGS AND SCOTT MacDONALD IN CONVERSATION — THE SUBLIMITY OF DOCUMENT: CINEMA AS DIORAMA

sublimity

Who: Janet Biggs and Scott MacDonald
What: Panel discussion and book launch
Where: Cristin Tierney Gallery, 219 Bowery, second floor, 212-594-0550
When: Thursday, July 11, free with advance RSVP, 6:30
Why: In his new book, The Sublimity of Document: Cinema as Diorama (Oxford University Press, August 1, 2019, $125), author and film history professor Scott MacDonald writes of visual artist Janet Biggs, “I first became aware of Biggs when she visited Hamilton College in the spring of 2017 to present a talk about her work. As she showed stills and clips from recent videos, I was struck by the fact that Biggs had traveled to and filmed particular far-flung locations that I had been introduced to by other filmmakers. . . . I was interested not only that multiple artists would be drawn to these precise locations, but also that, in somewhat different ways, these locations can be dangerous to visit. As I became familiar with Biggs’s work, I came to wonder why an artist would go through the considerable difficulties of visiting distant, potentially dangerous locations, not in order to produce films that might have substantial audiences, but to offer relatively brief visual experiences to comparatively smaller audiences within gallery and museum spaces. I came to realize that my experiences with Biggs’s work offered an opportunity to explore, at least in a small way, the issue of installation cinema versus theatrical cinema.” The book continues with an interview between MacDonald and Biggs that was conducted online.

On July 11, MacDonald and Biggs will be together in person at the Cristin Tierney Gallery for a discussion on film and art in conjunction with the publication of The Sublimity of Document and Biggs’s most recent exhibition, “Overview Effect,” the second part of which, Seeing Constellations in the Darkness between Stars, continues at Cristin Tierney through August 2. MacDonald’s book features interviews with Biggs and more than two dozen other “avant-doc” filmmakers, including Ron Fricke, Laura Poitras, Frederick Wiseman, Bill Morrison, Abbas Kiarostami, and James Benning. Biggs has also contributed the article “Fragility Curve” to the current edition of the Brooklyn Rail, writing about her experiences making her latest films, which deal with Mars. “The earth will remake itself and survive the legacy of its human inhabitants, but will we?” she asks. The conversation with Biggs and MacDonald will be followed by a book signing; in addition, Biggs, who has participated in two twi-ny talks, will be presenting the multimedia performance piece How the Light Gets In July 18 at the New Museum.

MOSTLY MOZART FESTIVAL

Boy Blue’s Blak Whyte Gray makes a special return engagement at 2019 Mostly Mozart Festival at Lincoln Center (photo by Carl Fox)

Multiple venues at Lincoln Center
July 10 – August 9, free – $120
www.lincolncenter.org

With the demise of the Lincoln Center Festival last year, the institution’s Mostly Mozart Festival has filled in many of the gaps, expanding its breadth to cover much more than classical music and related events. Thus, its fifty-third season is a multidisciplinary affair with a wide variety of dance, theater, music, and film that is mostly non-Mozart. The summer festival begins July 10-13 with the world premiere of Mark Morris Dance Group’s Sport at Jazz at Lincoln Center’s Rose Theater, set to Erik Satie’s “Sports et divertissements,” along with the company’s Empire Garden and V. Other dance programs include a special return engagement of Boy Blue’s Blak Whyte Gray August 1-3 at the Gerald Lynch Theater at John Jay College, with Kenrick “H2O” Sandy and Margo Jefferson participating in a talk after the August 2 performance, and the US premiere of Yang Liping Contemporary Dance’s Under Siege August 8-10 at the David H. Koch Theater, a lavish dance-theater production inspired by historic events in Chen Kaige’s Farewell, My Concubine, the 1993 epic that will be screened July 28 at the Walter Reade Theater. The festival will also be showing Ang Lee’s Crouching Tiger, Hidden Dragon on August 4, which features Oscar-winning production design by Tim Yip, the set and costume designer of Under Siege.

Yang Liping Contemporary Dance’s Under Siege makes its US premiere at Mostly Mozart Festival (photo by Ding Yi Jie)

Of course, there is plenty of Wolfgang Amadeus and other classical programs at the festival. The Mostly Mozart Festival Orchestra will present Beethoven’s “Eroica Symphony” July 23-24, Vivaldi’s “The Four Seasons” July 26-27, “Mozart & Brahms” July 30-31, “Beethoven & Schubert” August 2-3, “Joshua Bell Plays Dvořák” August 6-7, and “Mozart à la Haydn” August 9-10, all at David Geffen Hall. British theater group 1927’s production of The Magic Flute July 17-20 at the Koch features the Mostly Mozart Festival Orchestra, a cast from Komische Oper Berlin, colorful animation, and imaginative set design. The intimate series “A Little Night Music” in the Stanley H. Kaplan Penthouse includes performances by cellist Kian Soltani and pianist Julio Elizalde; pianist Michael Brown; vocalist Nora Fischer and guitarist and vocalist Marnix Dorrestein; violinist Pekka Kuusisto and bassist Knut Erik Sundquist; soprano Susanna Phillips and pianist Myra Huang; pianist Martin Helmchen; pianists Lucas and Arthur Jussen in their New York debut; Brooklyn Rider; and pianist Steven Osborne. And on August 4, the Budapest Festival Orchestra will play works by Haydn, Handel, and Mozart at the Geffen, with soprano Jeanine De Bique, conducted by Iván Fischer.

Mostly Mozart Festival features New York production premiere of The Magic Flute by British theater group 1927 (photo by Michael Daniel)

One of the highlights of the festival is sure to be Davóne Tines and Michael Schachter’s The Black Clown July 24-27 at the Gerald Lynch, a musical theater piece based on Langston Hughes’s 1931 poem, with Tines as the title character, choreography by Chanel DaSilva, and set and costumes by Carlos Soto; the July 25 show will be followed by a talk with Tines, director Zack Winokur, and DaSilva. In addition, there are several free, first-come, first-served events: the panel discussion “Mozart’s Magic Flute: In His Time and Ours” July 20 at 3:00 at the Kaplan Penthouse; the International Contemporary Ensemble (ICE) performing works by Anna Thorvaldsdottir, Bergrún Snæbjörnsdóttir, and Ashley Fure at the David Rubenstein Atrium on July 25 at 7:30; the Mostly Mozart Festival Orchestra, conducted by Louis Langrée, playing Mozart’s “Gran Partita” July 27 at 3:00 at St. Paul’s Chapel; ICE’s “Composer Portraits” program of works by Iranian composers Anahita Abbasi, Aida Shirazi, and Niloufar Nourbakhsh at the atrium August 5 at 7:00; and violinist Tessa Lark and bassist Michael Thurber at the atrium August 8 at 7:30.

IN PERSON EVENT: NO HOME MOVIE

Chantal Akerman creates a unique profile of her mother in deeply personal No Home Movie

NO HOME MOVIE (Chantal Akerman, 2015)
IFC Center
323 Sixth Ave. at West Third St.
Tuesday, July 9, 7:30
212-924-7771
www.ifccenter.com
icarusfilms.com

Chantal Akerman’s No Home Movie was meant to be a kind of public eulogy for her beloved mother, Natalia (Nelly) Akerman, who died in 2014 at the age of eighty-six, shortly after Chantal had completed shooting forty hours of material with her. But it also ended up becoming, in its own way, a public eulogy for the highly influential Belgian auteur herself, as she died on October 5, 2015, at the age of sixty-five, only a few months after the film screened to widespread acclaim at several festivals (except at Locarno, where it was actually booed). Her death was reportedly a suicide, following a deep depression brought on by the loss of her mother. IFC is presenting a special screening on July 9, introduced by Akerman translator Corina Copp, who will read from Akerman’s final book, My Mother Laughs.

No Home Movie primarily consists of static shots inside Nelly’s Brussels apartment as she goes about her usual business, reading, eating, preparing to go for a walk, and taking naps. Akerman sets down either a handheld camera or a smartphone and lets her mother walk in and out of the frame; Akerman very rarely moves the camera or follows her mother around, instead keeping it near doorways and windows. She’s simply capturing the natural rhythms and pace of an old woman’s life. Occasionally the two sit down together in the kitchen and eat while discussing family history and gossip, Judaism, WWII, and the Nazis. (The elder Akerman was a Holocaust survivor who spent time in Auschwitz.) They also Skype each other as Chantal travels to film festivals and other places. “I want to show there is no distance in the world,” she tells her mother, who Skypes back, “You always have such ideas! Don’t you, sweetheart.” In another exchange, the daughter says, “You think I’m good for nothing!” to which the mother replies, “Not at all! You know all sorts of things others don’t know.”

Shots of a tree fluttering in the Israeli wind enhance the peaceful calm of No Home Movie

Later they are joined by Chantal’s sister, Sylviane, as well as Nelly’s home aide. The film features long sections with no dialogue and nobody in the frame; Akerman opens the movie with a four-minute shot of a lone tree with green leaves fluttering in the wind in the foreground, the vast, empty landscape of Israel in the background, where occasionally a barely visible car turns off a far-away road. Akerman returns to Israel several times during the film, sometimes shooting out of a moving car; these sections serve as interludes about the passage of time as well as referencing her family’s Jewish past. At one point, Akerman makes potatoes for her mother that they eat in the kitchen, a direct reference to a scene in Akerman’s feminist classic, Jeanne Dielman, 23 Quai due Commerce, 1080 Bruxelles. Knowing about what happened to both mother and daughter postfilming casts a shadow over the documentary, especially when Chantal tells her mother, “I’m in a very, very good mood. . . . Let’s enjoy it; it’s not that common.” As the film nears its conclusion, there is almost total darkness, echoing the end of life. Through it all, Akerman is proud of her mother; reminiscing about kindergarten, she remembers, “And to everybody, I would say, this is my mother.” No Home Movie achieves that very same declaration, now for all the world to see and hear.

FIRST SATURDAYS: VISUALIZING INDEPENDENCE

Portrait of Garry Winogrand. Credit: Judy Teller

Screening of Garry Winogrand: All Things Are Photographable is part of free Brooklyn Museum First Saturday program on July 6 (photo by Judy Teller)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, July 6, free (some events require advance tickets), 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum celebrates the 243rd birthday of the United States of America in the July edition of its free First Saturday program. There will be live performances by Brooklyn Maqam musicians, Dj InO, Tunde Olaniran, Snips, and Cumbia River Band; a curator tour of “Garry Winogrand: Color” led by Drew Sawyer; a hands-on workshop in which participants can design wearable art inspired by “Nobody Promised You Tomorrow: Art 50 Years After Stonewall”; a book club discussion with Adreinne Waheed, author of the photo book Black Joy and Resistance, with artist Zun Lee and moderator Delphine Adama Fawundu; teen pop-up gallery talks in honor of the fortieth anniversary of The Dinner Party and creator Judy Chicago’s eightieth birthday; a screening of Garry Winogrand: All Things Are Photographable (Sasha Waters Freyer, 2018), followed by a talkback with Sawyer and Susan Kismaric; Cave Canem poetry readings with JP Howard, Raven Jackson, and Trace DePass responding to “Liz Johnson Artur: Dusha”; and a community talk about the Lesbian Herstory Archives with Flavia Rando, Shawn(ta) Smith-Cruz, Ashley-Luisa Santangelo, and Elvis Bakaitis. 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,” “Something to Say: Brooklyn Hi-Art! Machine, Deborah Kass, Kameelah Janan Rasheed, and Hank Willis Thomas,” “Infinite Blue,” “Rembrandt to Picasso: Five Centuries of European Works on Paper,” “Kwang Young Chun: Aggregations,” and more.

THE RETURN OF MARTIN GUERRE 4K RESTORATION

Gérard Depardieu stars as a man claiming to be a long-missing peasant in Daniel Vigne’s The Return of Martin Guerre

THE RETURN OF MARTIN GUERRE (LE RETOUR DE MARTIN GUERRE) (Daniel Vigne, 1982)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
Opens Friday, July 5
212-255-2243
quadcinema.com

Identity theft was much different in the sixteenth century than it is today. Daniel Vigne’s award-winning 1982 drama, The Return of Martin Guerre, relates the based-on-fact story of a man who has come back to the small, poor village of Artigat in the French countryside after being away for nearly a decade, fighting a war and journeying across Europe. “You will not regret having followed this story, for it is neither a tale of adventure nor an imaginary fable,” a narrator says at the beginning of the film. “It is a true story.” It also looks and sounds better than ever, in a lovely 4K director’s cut restoration opening at the Quad on July 5. The rather quiet and dull Martin Guerre (Stéphane Pean) disappears one night in 1542, to the consternation of his wife, Bertrande de Rols (first Sylvie Méda, then Nathalie Baye). She raises their son, Sanxi Guerre (Adrien Duquesne), by herself, with the help of her family, and remains faithful to Martin, believing he will return. Years later, Martin (Gérard Depardieu) suddenly shows up, more educated and worldly, filled with tales of his time away. The villagers are quick to welcome him back into the fold, including Bertrande and Sanxi; Martin’s sister Guillemette (Valérie Chassigneux); their uncle Pierre (Maurice Barrier), who has run the farm and married Bertrande’s mother, Raimonde de Rols (Rose Thiéry); and Martin’s friend Jacques (Philippe Babin). But slowly some of the peasants start questioning whether this Martin is actually an imposter taking advantage of Bertrande and Artigat, which leads to the arrival of Jean de Coras (Roger Planchon) of the Toulouse Parlement to interview Bertrande.

A family is reunited in The Return of Martin Guerre — or is it?

Written by honorary Oscar winner Jean-Claude Carrière (Danton, The Discreet Charm of the Bourgeoisie) and Vigne (One Woman or Two, Jean de La Fontaine — le défi ) with Natalie Zemon Davis, a Princeton University professor and historian who consulted on the film and later wrote a book on the subject, The Return of Martin Guerre is gorgeously photographed by Andre Neau, inspired by the paintings of Dutch masters Johannes Vermeer and Pieter Brueghel the Elder. The film won three Césars, for Best Original Screenplay, Best Music (Michel Portal), and Best Production Design (Alain Negre), and received a nomination for Most Promising Actor (Dominique Pinon, who would become a mainstay in the films of Jean-Pierre Jeunet), in addition to an Oscar nod for Best Costume Design (Anne-Marie Marchand); it was also remade by Jon Amiel in 1993 as the Civil War drama Sommersby with Richard Gere and Jodie Foster. Depardieu is big and boisterous as the man claiming to be Martin, while Baye is soft and gentle as Bertrand in the second of seven films they have made together. The Return of Martin Guerre might be set nearly half a millennium ago, but its exploration of faith, honor, virtue, poverty, the law, education, and truth, as well as how people can change over time — or not — is not as old-fashioned as it might at first seem in this age of fake news, income inequality, religious extremism, and social media.