this week in lectures, signings, panel discussions, workshops, and Q&As

NEW YORK JEWISH FILM FESTIVAL OPENING NIGHT: MOON IN THE 12th HOUSE

MOON IN THE 12th HOUSE

Mira (Yuval Scharf) returns home but younger sister Lenny (Yaara Pelzig) is not yet ready to have her back in her life in MOON IN THE 12th HOUSE

MOON IN THE 12th HOUSE (Dorit Hakim, 2016)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Wednesday, January 11, 3:30 & 9:00
New York Jewish Film Festival runs January 11-24
212-875-5601
nyjff.org
www.filmlinc.org

The 2017 New York Jewish Film Festival opens with the tender, emotionally wrenching Moon in the 12th House, the debut feature by Dorit Hakim, who won the 1998 Silver Lion for Best Short Film for her eleven-minute Small Change. Hakim, a journalist and filmmaker who was born in Tel Aviv, lived for several years with her husband, Israeli hi-tech success Shlomo Kramer, in Silicon Valley, then moved back to her homeland. For her first full-length work, she reaches deep into her Israeli youth to tell the story of two sisters separated by tragedy when they were girls. Now adults, the vain Mira (Yuval Scharf) works in a glitzy Tel Aviv nightclub, where she does drugs and sleeps with her selfish, mean-spirited boss, Doron (Gal Toren). Her younger sister, twenty-one-year-old Lenny (Yaara Pelzig), has chosen to remain in the family home in the country, taking care of their ailing father (Avraham Horovitz), who is in an assisted living facility after a stroke. Lenny, who goes for a precious swim every day to temporarily escape her overwhelming responsibilities, is also watching her neighbor’s teenage son, Ben (Gefen Barkai), while his artist mother is away. Long estranged, the sisters are reunited when a desperate Mira suddenly shows up on Lenny’s doorstep, but as much as Mira might need her, Lenny is not yet ready to accept her back in her life. “It’s not as easy for me as it is for you,” Mira says, not understanding the sacrifices that Lenny has made, part of the reason why they are estranged.

MOON IN THE 12th HOUSE

Lenny (Yaara Pelzig) takes care of her ailing father (Avraham Horovitz) in debut feature by Dorit Hakim

Inspired by events from her life but not wholly autobiographical, Moon in the 12th House is a fragile, delicate film; it feels as if it could break at any moment, echoing how the sisters exist on a psychological precipice. Writer-director Hakim never makes things simple, avoiding clichéd plot twists as details emerge about what tore Lenny and Mira apart. Scharf (Ha-Emet Ha’Eroma, Ana Arabia) and Pelzig (Policeman, Good Family) have a strong chemistry, whether they’re fighting or cuddled together in bed. The film is beautifully photographed by Amit Yasur (The Slut, Next to Her), with a warm, spare soundtrack by Ishai Adar (Mr. Gaga, Bethlehem). Nominated for six Israeli Oscars — Scharf for Best Supporting Actress, Toren for Best Supporting Actor, Yasur for Best Cinematography, Li Alembik for Best Costume Design, Vered Mevorach for Best Makeup, and Adar for Best Music — Moon in the 12th House is screening at the Walter Reade Theater on January 11 at 3:30 and 9:30, with each show followed by a Q&A with Hakim and Scharf. The twenty-sixth annual New York Jewish Film Festival, a joint production of the Jewish Museum and the Film Society of Lincoln Center, runs January 11-24, with more than three dozen programs, from new fiction and nonfiction films to special tributes to Valeska Gert and the duo of Zero Mostel and Gene Wilder and a master class with Israeli documentarian Tomer Heymann.

BROOKLYN MUSEUM FIRST SATURDAY: NEW YEAR, NEW FUTURES

Jason Benjamin’s SUITED will be shown at the Brooklyn Museum on Saturday night, followed by the discussion “Queer Style as Resistance in Post-Trump Activism”

Jason Benjamin’s SUITED will be shown at the Brooklyn Museum on Saturday night, followed by the discussion “Queer Style as Resistance in Post-Trump Activism”

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, January 7, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

A lot of Americans were glad to bid good riddance to 2016, although there’s plenty of fear for what can happen in 2017. The Brooklyn Museum explores some of those very legitimate concerns in its free First Saturday program on January 7. There will be live performances by Tank and the Bangas, Discwoman (DJs BEARCAT and SHYBOI) and Cakes Da Killa; a Brooklyn Dance Festival workshop; a book club reading, discussion, and signing with Daniel José Older for his latest Bone Street Rumba novel, Battle Hill Bolero; a hands-on art workshop in which participants can make masks inspired by “A Woman’s Afterlife: Gender Transformation in Ancient Egypt”; a screening of Jason Benjamin’s Suited, followed by a “Queer Style as Resistance in Post-Trump Activism” talkback with Benjamin, dapperQ, Anita Dolce Vita, Daniel Friedman, Debbie-Jean Lemonte, and Rae Tutera; a curator tour of “A Woman’s Afterlife” with Edward Bleiberg; pop-up gallery talks on “Marilyn Minter: Pretty/Dirty”; a community resource fair with Active Citizen Project/Project EATS, Caribbean Leadership Empowerment Foundation, Historic Districts Council, Spaceworks, Carroll Gardens Association, and Pioneer Works; Kids Corner storytelling (“Virtuous Journeys”) with Rezz and Mando; and pop-up publishing with DIY feminist publishers Pilot Press, led by Jen Kennedy and Liz Linden. In addition, you can check out such exhibits as “Iggy Pop Life Class by Jeremy Deller,” “Beverly Buchanan — Ruins and Rituals,” “The Dinner Party by Judy Chicago,” “Life, Death, and Transformation in the Americas,” “Marilyn Minter: Pretty/Dirty,” and “Infinite Blue”; admission to “Who Shot Sports: A Photographic History, 1843 to the Present,” which closes January 8, requires a discounted admission fee of $10.

PopRally / THE CONTENDERS: DON’T BLINK — ROBERT FRANK

Robert Frank

Robert Frank takes a unique look at his life and career in documentary made by his longtime editor

DON’T BLINK — ROBERT FRANK (Laura Israel, 2015)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Saturday, January 7, $15, 7:30
Series runs through January 12
Tickets: $12, may be applied to museum admission within thirty days
212-708-9400
www.dontblinkrobertfrank.com
www.moma.org

“I hate these fucking interviews,” innovative, influential, ornery, and iconoclastic photographer and filmmaker Robert Frank says while preparing to be interviewed in 1984; the scene is shown in Laura Israel’s new documentary, Don’t Blink — Robert Frank. “I’d like to walk out of the fucking frame,” he adds, then does just that. But in Don’t Blink, Frank finds himself walking once more into the frame as Israel, his longtime film editor, attempts to get him to open up about his life and career. Born in Zurich in 1924, Frank immigrated to the United States in 1947, became a fashion photographer, and had his artistic breakthrough in 1958 with the publication of the controversial photo book The Americans, which captured people unawares from all over the country, using no captions, just image, to get his point across. (In 2009, “The Americans”) was installed at the Metropolitan Museum of Art, in addition to a gallery show of related photographs at Pace/McGill.) In the film, Frank does talk about his past and present, discussing his time with such Beats as Jack Kerouac, Allen Ginsberg, William S. Burroughs, and Peter Orlovsky, which he displayed in the 1959 film Pull My Daisy, narrated by an improvising Kerouac and codirected by Alfred Leslie; touching on the tragic early deaths of his son and daughter; sharing details about his parents, including his father, whose hobby was photography; hanging out with his wife, fellow artist June Leaf; and delving into such influences as Walker Evans and his creative process, which is not exactly complex. “Usually the first picture is the best one. Make sure they’re smiling, say cheese,” Frank says with a laugh, then adds, “The main thing is get it over, quick.” Israel takes that advice to heart, trying to get what she can out of Frank before he changes his mind; at first he didn’t want to participate in the film at all, but once he went with it, he also made sure to playfully battle with Israel over who was really in control.

Robert Frank

Robert Frank has fun with some of his old films in DON’T BLINK

Israel (Windfall) does not tell Frank’s story chronologically but instead relies on a kind of thematic wandering through his life, intercutting old lectures, interviews, home movies, and photographs with clips from such Frank films as Conversations in Vermont, About Me: A Musical, Energy and How to Get It, Candy Mountain, One Hour, and Paper Route. Israel spends the most time on Cocksucker Blues, an unreleased work about the Rolling Stones on tour in 1972 (and about which Mick Jagger told Frank, “It’s a fucking good film, Robert, but if it shows in America we’ll never be allowed in the country again”), and Me and My Brother, which focuses on Julius Orlovsky, Peter Orlovsky’s brother, who suddenly awakened from a catatonic state and had some fascinating things to say. Just as Frank’s films went back and forth between color and black-and-white and avoided conventional storytelling methods, Israel does the same with Don’t Blink, using offbeat angles, also switching between color and black-and-white, and incorporating other deft touches that lend insight to Frank, who is now ninety-one and still has disheveled hair, and his work, especially when he’s taking Polaroids and scratching and painting on the back of the pictures. (Alex Bingham served as both editor and art director, while the cinematography is by Lisa Rinzler.) The film’s fierce soundtrack meshes well with Frank’s independent streak, with songs by the Velvet Underground, Bob Dylan, the Mekons, New Order, the Kills, Yo La Tengo, Patti Smith, Johnny Thunders, the White Stripes, and Tom Waits, many of whom Israel has made music videos for. Perhaps at the heart of Frank’s methodology is what he calls “spontaneous intuition,” something that works for both life and art and helps propel Israel’s warmhearted but never worshipful documentary; their camaraderie is evident in nearly every frame. Don’t Blink — Robert Frank is screening January 7 at 7:30, presented by MoMA’s PopRally programming for ages twenty-one and older, and will be followed by a conversation with MoMA curator Josh Siegel, producer Melinda Shopsin, editor Alex Bingham, and Israel, as well as a reception with wine, beer and music; it is also part of MoMA’s annual series “The Contenders,” which consists of films the institution believes will stand the test of time; the festival continues through January 12 with such other favorites as Barry Jenkins’s Moonlight, Damien Chazelle’s La La Land, Yeon Sang-ho’s Train Busan, and Johnnie To’s Three.

WINTER 2017 PERFORMANCE FESTIVALS

Bobbi Jene Smith and Keir GoGwilt team up for A STUDY ON EFFORT at Invisible Dog Center as part of COIL festival

Bobbi Jene Smith and Keir GoGwilt team up for A STUDY ON EFFORT at Invisible Dog Center as part of COIL festival

The always exciting winter performance festival season gets under way right after New Year’s, with a slew of popular programs occurring all over town and in multiple boroughs. PS122’s COIL 2017 festival, the last under artistic director Vallejo Gantner, consists of fourteen events, with a dozen performances, a sewing bee, and the Red + White Party. The Public Theater’s fourteenth annual Under the Radar fest includes twenty-one programs, centering on experimental music, theater, and dance, along with postshow discussions and the Incoming festival within a festival. The NYC Winter Jazzfest will celebrate the centennial of Thelonius Monk’s birth while also concentrating on social justice. Focusing on “socially and aesthetically marginal and subversive artists tearing at the boundaries of form and wrestling with the realities of identity,” American Realness was founded in 2010 by Thomas Benjamin Snapp Pryor and Abrons Arts Center in 2010, directly modeled after the Public Theater’s Under the Radar festival; the eighth annual event comprises more than two dozen performances, readings, workshops, discussions, installations, and a party. The fifth annual Prototype festival, which presents cutting-edge opera-theater and music-theater, hosts seven productions, an anniversary party, panel discussions and talkbacks, and the Out of Bounds series of free performances in public spaces. Below are a handful of recommendations for each of the above January festivals.

COIL
Multiple venues
January 3-22
www.ps122.org/coil-2017

January 3, 4-7, 10-15
CVRTAIN, by Yehuda Duenyas, immersive virtual reality experience, 151 Gallery, 132 West 18th St., $10

January 5-8
Custodians of Beauty, by Pavel Zuštiak/Palissimo, dance-theater piece exploring beauty, La MaMa, the Downstairs, 66 East Fourth St., $20

January 7-10
Basketball, by Molly Lieber and Eleanor Smith, dance exploring past shames, Howard Gilman Performance Space, Baryshnikov Arts Center, 450 West 37th St., $20

January 8
Umyuangvigkaq: PS122 Long Table and Durational Sewing Bee, by Emily Johnson/Catalyst, featuring breakfast, “This Is Lenapehoking: Countering Perceived Invisibility,” “Indigenizing the Future: The Continuance of Aesthetic, Invention, Ceremony,” “My Dad Gives Blueberries to Caribou He Hunts: Indigenous Process and Research as Ceremony,” and “Radical Love: Indigenous Artists and Our Allies,” Ace Hotel New York, 20 West 29th St., free with advance RSVP, 11:30 am – 6:00 pm

January 12-14
A Study on Effort, by dancer and choreographer Bobbi Jene Smith in collaboration with violinist Keir GoGwilt, Invisible Dog Art Center, 51 Bergen St., $20

(photo by Jesse Hunniford)

Tania El Khoury’s GARDENS SPEAK give voice back to dead Syrian activists and protesters (photo by Jesse Hunniford)

UNDER THE RADAR
Public Theater and other venues
425 Lafayette St. by Astor Pl.
January 4-15
publictheater.org

January 4, 6, 10
Erin Markey: Boner Killer, words and music by Erin Markey, directed by Ellie Heyman, starring Markey and Emily Bate, Joe’s Pub at the Public Theater, $25

January 6-9
Gardens Speak, interactive sound installation about ten deceased Syrian activists, by Tania El Khoury, NYU Tisch School of the Arts Abe Burrows Theatre, 721 Broadway, $25

January 9
Incoming! They, Themselves and Schmerm, written and performed by Becca Blackwell, directed and developed by Ellie Heyman, the Robert Moss Theater at Playwrights Downtown, 440 Lafayette St., $25, 5:00 & 8:30

January 11, 12, 14, 15
Latin Standards, written and performed by Marga Gomez, directed by David Schwizer, Martinson Hall, the Public Theater, $25

January 12-15
Time of Women by Belarus Free Theatre, about a trio of women (Maryia Sazonava as Iryna Khalip, Maryna Yurevich as Natalya Radina, Yana Rusakevich as Nasta Palazhanka) fighting for a free and democratic Belarus, written by Nicolai Khalezin and Natiala Kaliada and directed by Khalezin, NYU Tisch School of the Arts Shop Theatre, 721 Broadway, $25

NYC Winter Jazzfest will celebrate one hundredth birthday of Thelonius Monk (photo by William P. Gottlieb)

NYC Winter Jazzfest will celebrate one hundredth birthday of Thelonius Monk (photo by William P. Gottlieb)

NYC WINTER JAZZFEST
Multiple venues
January 5-10
www.winterjazzfest.com

January 6, 7
NYC Winter Jazzfest Marathon, multiple venues, $45-$55 per day, $80-$90 for both

Sunday, January 8
Thelonious Monk Makes a Hundred, panel discussion, the New School, Fifth Floor Theater, 55 West Thirteenth St., 3:00

Thelonius Monk 100th Birthday Improv Show, with Kris Davis, David Virelles, Shabaka Hutchings, Sam Newsome, Marc Ribot, Charlie Burnham, Erik Friedlander, Linda Oh, Trevor Dunn, Hamid Drake, Andrew Cyrille, and Deva Mahal playing Solo Monk, Littlefield, 622 Degraw St., $20-$25, 8:00

Tuesday, January 10
Charlie Haden’s Liberation Music Orchestra: A Concert for Social Justice, with special guest Geri Allen and arrangements by Carla Bley, Le Poisson Rouge, 158 Bleecker St., $30-$40, Social and Environmental Justice panel at 6:00, show at 8:00

Meg Stuart will present an evening of solo works at Abrons Arts Center as part of American Realness festival (photo by Giannina Urmeneta Ottiker)

Meg Stuart will present an evening of solo works as part of American Realness festival (photo by Giannina Urmeneta Ottiker)

AMERICAN REALNESS
Abrons Arts Center and other venues
466 Grand St. at Pitt St.
January 5-12
americanrealness.com

January 5-7
An Evening of Solo Works by Meg Stuart, including XXX for Arlene and Colleagues and Signs of Affection, Abrons Arts Center, Playhouse, $20

January 6, 7
Étroits sont les Vaisseaux, by Kimberly Bartosik / daela, duet for Joanna Kotze and Lance Gries, inspired by Anselm Kiefer’s large-scale sculpture, Gibney Dance, Agnes Varis Performing Arts Center, 280 Broadway, $15

January 6, 7, 10
Twenty Looks or Paris Is Burning at the Judson Church (s), solo by Trajan Harrell, first work in series, Abrons Arts Center, Playhouse, $20

January 7, 8, 9, 10
Adult Documentary by Juliana F. May, piece for five dancers about trauma and form, Abrons Arts Center, Experimental Theater, $20

January 8
In the Works: Dance in Process Resident Artists & Guests, with performances by Melinda Ring, Anna Sperber, Michelle Boulé, Jaamil Olawale Kosoko, Larissa Velez-Jackson, Gibney Dance Company, Antonio Ramos, Katie Workum, Bjorn Safsten, Yanira Castro, iele paloumpis, Gibney Dance Choreographic Center, 890 Broadway, free, 10:00 am – 4:00 pm

FUNERAL DOOM SPIRITUAL will have its New York premiere at National Sawdust as part of Prototype festival (photo by M. Lamar)

FUNERAL DOOM SPIRITUAL will have its New York premiere at National Sawdust as part of Prototype festival (photo by M. Lamar)

PROTOTYPE
Multiple venues
January 5-15, $25 unless otherwise noted
www.prototypefestival.org

January 5
Out of Bounds: Amirtha Kidambi, inspired by Nina Simone’s performance at the Harlem Cultural Festival in 1969, 60 Wall St. Atrium, free, 1:00

January 5-14
Mata Hari, composed by Matt Marks, directed and with libretto by Paul Peers, conducted by David Bloom, and starring Tina Mitchell, HERE, 145 Sixth Ave., $30

January 6
Out of Bounds: Leah Coloff, inspired by Patti Smith’s Kimberly and a set at CBGB’s, 60 Wall St. Atrium, free, 1:30

January 6, 7, 9
Breaking the Waves, New York City premiere of opera based on Lars Von Trier film, composed by Missy Mazzoli, directed by James Darrah, conducted by Julian Wachner, with libretto by Royce Vavrek, and starring Bess McNeill and Jan Nyman, NYU Skirball Center, 566 LaGuardia Pl., $30-$75, 7:30

January 13, 14
Funeral Doom Spiritual, multimedia concert by composers M. Lamar and Hunter Hunt-Hendrix and librettists Lamar and Tucker Culbertson, with Lamar on piano and vocals, string arrangements by Hunt-Hendrix, and additional arrangements by James Ilgenfritz & the Anagram Strings, National Sawdust, 80 North Sixth St., $30, 7:00 & 10:00

ILLUMINATING MOONLIGHT: MOONLIGHT / KILLER OF SHEEP / SILENT LIGHT / THREE TIMES

MOONLIGHT

Chiron (Alex Hibbert) looks out at a hard future in Barry Jenkins’s powerful MOONLIGHT

MOONLIGHT (Barry Jenkins, 2016)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Thursday, January 5, 6:30
Series runs January 4-9
212-875-5601
www.filmlinc.org
moonlight-movie.com

The Film Society of Lincoln Center is paying tribute to one of the best films of the year, Barry Jenkins’s Moonlight, with the six-day series “Illuminating Moonlight,” running January 4-9 and consisting of screenings of the L.A.-based writer-director’s 2008 debut, Medicine for Melancholy, starring Wyatt Cenac and Tracey Heggins, which Jenkins will introduce; his follow-up, Moonlight, which will be followed by a Q&A with Jenkins; and six diverse works that directly influenced Jenkins in making Moonlight: Carlos Reygadas’s Silent Light, Hou Hsiao-hsien’s Three Times, Charles Burnett’s Killer of Sheep, Wong Kar-wai’s Happy Together, Nagisa Ôshima’s Gohatto, and Claire Denis’s Beau Travail. In Moonlight, Jenkins tells the powerful and moving story of Chiron, a shy, troubled boy growing up in Liberty City, Florida, in three chapters as Chiron goes from a young boy (Little, played by Alex Hibbert) to a teenager (Chiron, played by Ashton Sanders) to a twenty-seven-year-old man (Black, played by Trevante Rhodes). The semiautobiographical film is based on playwright and actor Tarell Alvin McCraney’s In Moonlight Black Boys Look Blue and Jenkins’s own experiences; both men are from Liberty City but did not know each other there. In the first section, Little is chased by bullies and runs into an abandoned building, where he is found by Juan (Mahershala Ali), a drug dealer who brings him home to his girlfriend, Teresa (Janelle Monáe). They become a kind of surrogate family, as Little’s mother, Paula (Naomie Harris), is a crack addict who will do just about anything for her next score. Little also finds solace in his friendship with Kevin (Jaden Piner, later played by Jharrel Jerome and André Holland). In the second chapter, Chiron is taunted and bullied by Terrel (Patrick Decile) while trying to come to terms with his sexual orientation. In the third section, the passage of time reveals how much has changed, although the film turns overly melodramatic at the end. Taking its inspiration from the source material, Moonlight is beautifully photographed by James Laxton, who has previously shot Medicine for Melancholy and Jenkins’s 2003 shorts, My Josephine and Little Brown Boy, and 2011 “Remigration” episode of Futurestates, bathing the film in lush blues. Jenkins’s subtly paced style is accompanied by a gorgeous classical-inspired score by Nicholas Britell (The Big Short). Moonlight is anchored by superb performances by Emmy nominee Ali (House of Cards, Hidden Figures) as the cool and caring Juan; Harris (Mandela: Long Walk to Freedom, 28 Days Later) as the drug-addicted Paula, who has lost control of her life; Monáe (Hidden Figures, The Electric Lady) as the sweet and understanding Teresa; and Sanders (The Retrieval) as the in-between Chiron, who feels overwhelmed by all the maelstrom swirling around him.

Charles Burnett’s KILLER OF SHEEP examines black life in postwar America

Charles Burnett’s KILLER OF SHEEP examines black life in postwar America

KILLER OF SHEEP (Charles Burnett, 1977)
Wednesday, January 4, 7:00
Sunday, January 8, 8:45
www.filmlinc.org
www.killerofsheep.com

In 2007, Milestone Films restored and released Charles Burnett’s low-budget feature-length debut, Killer of Sheep, with the original soundtrack intact; the film had not been available on VHS or DVD for decades because of music rights problems that were finally cleared. (The soundtrack includes such seminal black artists as Etta James, Dinah Washington, Little Walter, and Paul Robeson.) Shot on weekends for less than $10,000, Killer of Sheep took four years to put together and another four years to get noticed, when it won the FIPRESCI Prize at the 1981 Berlin Film Festival. Reminiscent of the work of Jean Renoir and the Italian neo-Realists, the film tells a simple story about a family just trying to get by, struggling to survive in their tough Watts neighborhood in the mid-1970s. The slice-of-life scenes are sometimes very funny, sometimes scary, but always poignant, as Stan (Henry Gayle Sanders) trudges to his dirty job in a slaughterhouse in order to provide for his wife (Kaycee Moore) and children (Jack Drummond and Angela Burnett). Every day he is faced with new choices, from participating in a murder to buying a used car engine, but he takes it all in stride. The motley cast of characters, including Charles Bracy and Eugene Cherry, is primarily made up of nonprofessional actors with a limited range of talent, but that is all part of what makes it all feel so real. Killer of Sheep was added to the National Film Registry of the Library of Congress in 1989, the second year of the program, making it among the first fifty to be selected, in the same group as Rebel Without a Cause, The Godfather, Duck Soup, All About Eve, and It’s a Wonderful Life, which certainly puts its place in history in context. Killer of Sheep is screening January 4 and 8 in the “Illuminating Moonlight” series.

The beautifully minimalist SILENT LIGHT served as an influence on Barry Jenkins’s MOONLIGHT

SILENT LIGHT (STELLET LICHT) (Carlos Reygadas, 2007)
Thursday, January 5, 3:30
Sunday, January 8, 6:00
www.filmlinc.org

Carlos Reygadas’s Silent Light is a gentle, deeply felt, gorgeously shot work of intense calm and beauty. The film opens with a stunning sunrise and ends with a glorious sunset; in between is scene after scene of sublime beauty and simplicity, as Reygadas uses natural sound and light, a cast of mostly nonprofessional actors, and no incidental music to tell his story, allowing it to proceed naturally. In a Mennonite farming community in northern Mexico where Plautdietsch is the primary language, Johan (Cornelio Wall Fehr) is torn between his wife, Esther (Miriam Toews), and his lover, Marianne (Maria Pankratz). While he loves Esther, he finds a physical and spiritual bond with Marianne that he does not feel with his wife and their large extended family. Although it pains Johan deeply to betray Esther, he is unable to decide between the two women, even after tragedy strikes. Every single shot of the spare, unusual film, which tied for the Jury Prize at the 2007 Cannes Film Festival (with Vincent Paronnaud and Marjane Satrapi’s Persepolis), is meticulously composed by Reygadas (Japon, Battle in Heaven) and cinematographer Alexis Zabe, as if a painting. Many of the scenes consist of long takes with little or no camera movement and sparse dialogue, evoking the work of Japanese minimalist master Yasujiro Ozu. The lack of music evokes the silence of the title, but the quiet, filled with space and meaning, is never empty. And the three leads — Fehr, who lives in Mexico; Toews, who is from Canada; and Pankratz, who was born in Kazakhstan and lives in Germany — are uniformly excellent in their very first film roles. Screening January 5 and 8 in the “Illuminating Moonlight” series, Silent Light is a mesmerizing, memorable, and very different kind of cinematic experience.

THREE TIMES

Chang Chen and Shu Qi fall in love in three different decades in Hou Hsiao-hsien’s THREE TIMES

THREE TIMES (Hou Hsiao-hsien, 2005)
Friday, January 6, 4:00
Sunday, January 8, 3:00
www.filmlinc.org

Hou Hsiao-hsien’s gorgeous Three Times is an evocative, poetic trilogy of tales about life and love in Taiwan, all starring the mesmerizing Shu Qi (Hou’s Millennium Mambo) and the stalwart Chang Chen (Wong Kar-wai’s 2046 and Happy Together). In A Time for Love, set in 1966 and featuring a repeated soft-rock soundtrack, Chen, about to leave for military service, meets May, a pool-hall girl, and promises to write to her even though they have only just met and barely said a word to each other. When he gets a furlough, he goes to the pool hall only to find that she’s on the move, so with Zen-like cool he tries to track her down. A Time for Freedom, a silent film with interstitial dialogue and period music, takes place in an elegant brothel in 1911, where Mr. Chang regularly visits a beautiful courtesan. But while she dreams of him buying out her contract and marrying her, he seems intent on helping out another couple instead. Hou concludes the trilogy with A Time for Youth, set in fast-paced modern-day Taipei, as Jing, an epileptic singer, and Zhen, a motorcycle-riding photographer, embark on a passionate, nearly wordless affair that has serious consequences for their significant others. Three Times is a rare treat for cineastes, a poetic, intelligent, though overly long study of relationships between men and women in a changing Taiwan over the last hundred years, focusing on character, time and place, and the art of filmmaking itself. Three Times is screening January 6 and 8 in the “Illuminating Moonlight” series.

AGNES MARTIN

Agnes Martin’s work feels right at home in major retrospective at the Guggenheim (photo by David Heald, courtesy Solomon R. Guggenheim Museum)

Agnes Martin’s work feels right at home in major retrospective at the Guggenheim (photo by David Heald, courtesy Solomon R. Guggenheim Museum)

Solomon R. Guggenheim Museum
1071 Fifth Ave. at 89th St.
Friday – Wednesday through January 11, $18 – $25 (pay-what-you-wish Saturday, 5:45-7:45)
212-423-3587
www.guggenheim.org

“To be an artist,” Agnes Martin once explained, “you look, you perceive, you recognize what is going through your mind, and it is not ideas. Everything you feel, and everything you see — your whole life goes through your mind, you know. I have to recognize it and go with it.” The same can be said for visitors who attend the absolutely lovely, simply titled retrospective “Agnes Martin,” continuing at the Guggenheim through January 11. As you spiral your way up the chronological exhibit, you are not only connecting with Martin’s life but your own as well, giving you a newfound appreciation of your very existence. Born in March 1912 in Saskatchewan, Canada, Martin lived in New York City and New Mexico during her most productive years, working daily up to her death in 2004 at the age of ninety-two. A former teacher (and onetime driver for John Huston), she never married and never had children; she was diagnosed with schizophrenia, living alone her entire adult life. Her paintings defy categorization, which was fine with her; her canvases incorporated Minimalism and Abstract Expressionism but were much more than that. “I would like [my pictures] to represent beauty, innocence, and happiness,” she proclaimed. “I would like them all to represent that. Exaltation.” And it is indeed exalting walking through the exhibition, which includes more than one hundred works that reveal Martin’s expert control of line, geometric form, grids, and color, delivered in spare, understated style.

Agnes Martin, “Friendship,” incised gold leaf and gesso on canvas, 1963 (© 2015 Agnes Martin /Artists Rights Society, New York)

Agnes Martin, “Friendship,” incised gold leaf and gesso on canvas, 1963 (© 2015 Agnes Martin /Artists Rights Society, New York)

The paintings feel at home in the Guggenheim bays, complemented by the white walls, lighting fixtures, and horizontal vents, which sometimes appear to have been created just for this show, earning bonus kudos to senior curator Tracey Bashkoff and guest curator Tiffany Bell. The first gallery actually begins with the midcareer suite “The Islands,” a group of nearly identical monochromatic paintings that set the tone for the rest of the show. “You see one canvas after another, and they’re similar until you look at them up close and you see how the artist’s hand has moved through the canvas and the marks that she has made,” notes Bashkoff, referring to Martin’s general oeuvre. “It’s by slowing down and looking at Martin’s canvases individually, taking in all of the details — it’s at those moments that you get close to this thoughtfulness and deliberateness.” Other paintings that reward extra attention are “This Rain,” two rectangles reminiscent of Mark Rothko; the kinetic sculpture “The Wave”; “White Flower,” a white grid on a dark canvas that has ghostly images floating in the background; “Little Sister,” composed of rows of dots; “Friendship,” a mesmerizing canvas of sparkling gold; “Happy Holiday,” boasting alternate stripes of white and peach pastel; “Heather,” consisting of rare vertical rectangles; and “Homage to Life,” from 2003, a floating black trapezoid in the center of a gray ground.

Agnes Martin’s work feels right at home in major retrospective at the Guggenheim (photo by David Heald, courtesy Solomon R. Guggenheim Museum)

Agnes Martin show at the Guggenheim features beautiful works filled with glorious line, color, and form (photo by David Heald, courtesy Solomon R. Guggenheim Museum)

“I believe in living above the line,” Martin said. “Above the line is happiness and love, you know. Below the line is all sadness and destruction and unhappiness. And I don’t go down below the line for anything.” Those are words to live by, from an artist who approached the world in a unique way, beautifully memorialized in one of the best shows of the year. On January 10 at 6:30 ($15), Quiet: A Poetry Reading for Agnes Martin will feature recitations by poets Ari Banias, Mei-mei Berssenbrugge, and Souvankham Thammavongsa, a reception, and an exhibition viewing, an evening curated by artist Jen Bervin. Martin fans should also make their way to Dia:Beacon, where several rooms of her work are on long-term display.

DR. FEELGOOD: DEALER OR HEALER?

Dr. William Hurwitz

Dr. William Hurwitz playfully states his case in documentary about prescription painkiller addiction

DR. FEELGOOD: DEALER OR HEALER? (Eve Marson, 2016)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, December 30
212-529-6799
www.cinemavillage.com
www.drfeelgoodfilm.com

There’s an odd element that runs through Eve Marson’s documentary Dr. Feelgood: Dealer or Healer? In nearly every new interview with film subject Dr. William Hurwitz, whose treatment of chronic pain included prescribing sometimes tens of thousands of opioids over a twelve-to-eighteen-month period for a single patient, the physician has a sly smile, as if this is all a kind of joke, or that he doesn’t understand what all the fuss is about. “One of the best reasons to go into medical practice is to help people. When somebody comes to you and they feel their life is constrained by pain, the ability to relieve that pain gives enormous satisfaction,” he explains at the beginning of the film. And he is still very satisfied, despite the death of at least two of his patients, time in prison, and the loss of his medical license. The film points out that one in three Americans suffer from chronic pain and that more than 200 million prescriptions for opioid painkillers are written each year. Marson shows viewers several sides of the controversial topic, in interviews with Dr. Hurwitz’s daughter, Gabriela; his ex-wife, Nilse Quercia; his former nurse, Ann Wierbinski; his former receptionist, Georgia Tsourounis; his defense attorney, Lawrence Robbins; patients Molly Shaw, Bret McCarter, and Jane Tanner; pain-treatment expert Dr. Anna Lembke; FBI agent Aaron Weeter; retired Fairfax County police officer Ken Pedigo; New York Times journalist John Tierney; Paul Nye and Michaelina Woodson, who believe Dr. Hurwitz’s treatment killed their spouses; and retired physician Dr. Hal Talley, who points out, “We have never come up with a test that tells you whether somebody is in pain or not.”

The multiple perspectives reveal that there are no easy answers to this complex issue: Some see Dr. Hurwitz as an angel, while others are convinced he is a demon. Written by Mark Monroe and Sara Goldblatt and produced by Goldblatt and Marson, the film also includes archival footage, re-creations, and news reports, most notably from 60 Minutes. Through it all, Dr. Hurwitz, a Stanford grad, keeps wearing that grin, as if he thinks all of this detailed examination is rather beside the point. “I like taking care of people,” he says. That’s all well and good, but as Dr. Feelgood shows, addiction to painkillers is no laughing matter. The film opens December 30 at Cinema Village, with Marson participating in a Q&A following the 7:15 screening on January 2.