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

HUMAN RIGHTS WATCH FILM FESTIVAL 2016: GROWING UP COY

GROWING UP COY

Timely documentary details one family’s legal and moral fight over child gender identity

GROWING UP COY (Eric Juhola, 2016)
Thursday, June 16, 7:00, IFC Center, 323 Sixth Ave. at West Third St., 212-924-7771
Friday, June 17, 6:30, Film Society of Lincoln Center, Walter Reade Theater, 165 West 65th St. between Eighth Ave. & Broadway, 212-875-5050
Festival runs June 10-19
ff.hrw.org/new-york
growingupcoy.com

“To me, this is a story about two parents who love their children, who love this particular child who is transgender, and who want the very best things in the world for her,” Michael Silverman of the Transgender Legal Defense & Education Fund says at the beginning of Growing Up Coy, a poignant and timely documentary about one family’s public fight to allow one of their children to legally establish her gender identity. When she was eighteen months old, Coy Mathis, who was born male but was unhappy that way, began displaying distinct female tendencies, exhibiting extreme displeasure when treated as a boy. She began kindergarten in the conservative town of Fountain, Colorado, as male but soon chose to transition, identifying as female. “She started asking us, when are we going to take her to the doctor so that she can be a girl, and when are we going to get the doctors to cut her penis off,” her mother, Kathryn Mathis, says in the film. “That was when it became a problem, and we reassured her that we would do everything we could so that she would be happiest as an adult.” Coy was initially given permission to use the girls bathroom, but in first grade, in late 2012, the school changed its policy and she was denied access. Kathryn, a photographer, and her husband, former Marine and full-time student Jeremy, decided to fight back, engaging in a legal battle that they eventually brought to the press when the school administration refused to acknowledge Coy’s gender choice. Soon the Mathises, who have five children under the age of eight — Dakota, who is is autistic, Auri, and triplets Coy, Max, and Lily, who has cerebral palsy and quadriplegia — are being both celebrated and excoriated on social media, in newspaper columns, and by talking heads on television, but they are determined to do whatever it takes, even if it includes making Coy the poster child in a heated debate over a controversial issue that most people don’t fully understand. “She doesn’t want to have to explain who she is and talk about how she’s different,” Kathryn says. “She just wants to be.”

Director and producer Eric Juhola and his husband, producer and editor Jeremy Stulberg, who previously collaborated on Off the Grid: Life on the Mesa, follow Coy and her family as they meet with child psychologist Tara Eastcott, discuss legal matters with Silverman, and participate in interviews with local and national media, including a high-profile sit-down with Katie Couric. The Mathises, who married when Kathryn was seventeen and Jeremy twenty-one, speak honestly and intelligently about the situation, fully aware of what they are doing and the potential ramifications, even when their relationship becomes strained because of it. They are clearly loving parents who want what’s fair and right for their children and are willing to take personal risks for the future of their family as well as the nation, although they do not consider themselves activists. “We know that once we do this, there’s no going back,” Kathryn says. Growing Up Coy is having its world premiere at the Human Rights Watch Film Festival, screening on June 16 at 7:00 at IFC Center and June 17 at 6:30 at the Walter Reade Theater, both followed by a Q&A with Juhola, Silverman, Stulberg, and HRW Bernstein Fellow Ryan Thoresen. The Mathis family has recently sought privacy; although they participated in the making of the film, they are not currently scheduled to make any public appearances in conjunction with it.

LUMINOSITY — THE ART OF CINEMATOGRAPHER MARK LEE PING-BING: FLOWERS OF SHANGHAI

FLOWERS OF SHANGHAI

Hou Hsiao-hsien gem FLOWERS OF SHANGHAI explores complex relationships between wealthy patrons and courtesans

FLOWERS OF SHANGHAI (HAI SHANG HUA) (Hou Hsiao-hsien, 1998)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Friday, June 17, 7:30, and Wednesday, June 29, 7:30
Series runs June 16-30
Tickets: $12, may be applied to museum admission within thirty days
212-708-9400
www.moma.org

Taiwanese New Wave master Hou Hisao-hsien might be the best filmmaker whose work you’ve never seen. For more than thirty years, he has been telling intimate, meditative stories about life, family, and relationships with a gentle, deeply intuitive style, infused with gorgeous visuals and subtly beautiful soundtracks. One of his most elegant works, Flowers of Shanghai, is set in brothels, known as flower houses, in 1884 in the British Concession, where men and women congregate for social interaction and develop long-term bonds and responsibilities to one another based on much more than just sex. The men play drinking games, smoke opium, and buy the women gifts. The story, told in a series of vignettes as Mark Lee Ping-Bing’s camera slowly moves through dark, lush, reddish gas-lit interiors, focuses on Master Wang (Tony Leung Chiu-wai), who has promised to be the sole patron of Crimson (Michiko Hada) but who has also been secretly seeing the younger Jasmin (Vicky Wei) and lavishing her with presents. The elder Master Hong (Luo Tsai-erh) and Auntie Huang (Rebecca Pan), the madam, discuss the situation, bringing up issues of responsibility and honesty, attempting to come to some kind of understanding in an exchange that shows respect for both the men and women who are a far cry from the Western conception of johns and prostitutes.

FLOWERS OF SHANGHAI

Women working in a brothel discuss their futures amid intimate lighting in Hou Hsiao-hsien’s gorgeous FLOWERS OF SHANGHAI

Most scenes end by fading quietly to black, then introducing the woman protagonist of the next section — Crimson, Jasmin, Pearl (Carina Lau), Jade (Shuan Fang), and Emerald (Michelle Reis) — as the women gossip and Crimson and Hong, and other pairs, try to figure out what they want out of life and from one another. In Flowers of Shanghai, Hou explores class differences, gender roles, the Asian notion of saving face, and intimacy with grace and sophistication. When the film fades out for the final time, viewers are left knowing they’ve just experienced something special, a stunning work that uses the technologies of cinema to delve into the very nature of humanity. Flowers of Shanghai is screening at MoMA on June 17 and 29 at 7:30 in the series “Luminosity: The Art of Cinematographer Mark Lee Ping-Bing,” with Lee participating in a Q&A following the June 17 show. The series runs June 16-30 and includes such other Lee-lensed treasures as Tian Zhuangzhuang’s Springtime in a Small Town, Gilles Bourdos’s Renoir, Wong Kar Wai’s In the Mood for Love, and Hou’s Dust in the Wind, The Assassin, and The Puppetmaster. In addition, Lee will sit down with Department of Film associate curator La Frances Hui for “A Conversation with Cinematographer Mark Lee Ping-Bing” on June 18 at 5:00.

MUSEUM MILE FESTIVAL 2016

Crowds take to the streets for annual Museum Mile Festival, beginning at the Met

Crowds take to the streets for annual Museum Mile Festival, beginning at the Met

Multiple locations on Fifth Ave. between 82nd & 105th Sts.
Tuesday, June 14, 6:00 – 9:00 pm
Admission: free
www.museummilefestival.org

The Metropolitan Museum of Art, now known as the Met Fifth Avenue with the addition of the Met Breuer in the old Whitney space, is the host of the thirty-ninth annual Museum Mile Festival, in which seven arts institutions along Fifth Avenue between 82nd and 105th Sts. open their doors for free between 6:00 and 9:00. (Met prez Daniel H. Weiss will deliver his opening remarks at 5:45.) There will be live outdoor performances by Dusan Tynek Dance Theatre, DJ Mickey Perez, Sammie & Trudie’s Imagination Playhouse, Mariachi Flor de Toloache, Silly Billy the Very Funny Clown, Miss 360, Alsarah and the Nubatones, Magic Brian, Kim David Smith, and Justin Weber Yo Yo in addition to face painting, art workshops, chalk drawing, and more. The participating museums (with at least one of their current shows listed here) are El Museo del Barrio (“Antonio Lopez: Future Funk Fashion”), the Museum of the City of New York (“Roz Chast: Cartoon Memoirs”), the Jewish Museum (“Isaac Mizrahi: An Unruly History,” “The Television Project: Some of My Best Friends”), the Cooper-Hewitt, National Design Museum (“Beauty — Cooper Hewitt Design Triennial,” “Pixar: The Story of Design”), the Guggenheim (“Moholy-Nagy: Future Present”), the Neue Galerie (“Munch and Expressionism”), and the Metropolitan Museum of Art (“Manus x Machina: Fashion in an Age of Technology,” “Court and Cosmos: The Great Age of the Seljuqs”), along with presentations by the New York Academy of Medicine, the 92nd St. Y, and Asia Society. Don’t try to do too much, because it can get rather crowded; just pick one or two exhibitions in one or two museums and enjoy.

GERMANS & JEWS

GERMANS & JEWS

Documentary explores how Germans are dealing with their Nazi past and why so many Jews are moving to the country

GERMANS AND JEWS (Janina Quint, 2015)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, June 10
212-529-6799
germansandjews.com
www.cinemavillage.com

Janina Quint’s debut feature documentary, Germans & Jews, explores an intriguing premise: why so many Jews are moving to Germany, either returning to their homeland or living there for the first time. However, director and producer Quint, a non-Jewish German, and producer and executive producer Tal Recanati, an American-born Jew raised in the U.S. and Israel, reduce the film to random cocktail-party chatter; in fact, far too much of Germans & Jews takes place at a dinner party as second-generation Germans and Jews ramble on about guilt, responsibility, education, forgiveness, and how Germany has changed since WWII. The film would have benefited from more speakers like German-born American historian Dr. Fritz Stern and Thorsten Wagner, a Danish-German historian and grandson of a Nazi sympathizer, who are able to put the situation into fascinating perspective with a sincere intelligence. “I think it is true that most Germans now understand their past and the horror that they visited upon the world, but it’s a very hard thing,” Dr. Stern says. “And to find ways around to explain it is a natural human response.”

The film does offer insight into the effect of the 1978 Holocaust miniseries, which was shown in West Germany but not in East Germany, and takes viewers to various public art installations that serve as memorials to what happened under the Nazis. Quint does touch upon the issue of whether ordinary Germans in the 1930s turned a blind eye to what was building or really didn’t know the truth. But in the end, the work doesn’t dig deep enough, delivering little more than interesting conversations and comments from a relatively arbitrary gathering of experts and regular people. Germans & Jews opens June 10 at Cinema Village, with Quint, Recanati, and producer Maria Giacchino participating in Q&As at all 7:00 shows.

THE MUSIC OF STRANGERS: YO-YO MA AND THE SILK ROAD ENSEMBLE

Yo-Yo Ma

Yo-Yo Ma leads the Silk Road Ensemble around the world in Morgan Neville documentary

THE MUSIC OF STRANGERS: YO-YO MA AND THE SILK ROAD ENSEMBLE (Morgan Neville, 2016)
Angelika Film Center, 18 West Houston St. at Mercer St., 212-995-2570
Lincoln Plaza Cinema, 1886 Broadway between 62nd & 63rd Sts., 212-757-2280
Opens Friday, June 10
themusicofstrangers.film

About midway through The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble, the renowned international group performs an exhilarating song in a studio that leaves them just as thrilled as the audience. Renowned cellist Ma might be the heart of the ensemble, but it’s the joy of creating and playing music no matter what that makes this documentary soar. And music is something that director Morgan Neville clearly understands, having previously made the Oscar-winning 20 Feet from Stardom as well as Muddy Waters: Can’t Be Satisfied, Respect Yourself: The Stax Records Story, and Johnny Cash’s America. In The Music of Strangers, Neville traces the history of the Silk Road Ensemble, named for the thousands-of-years-old trading route across Asia, from China to the Mediterranean. Born as an improvised gathering of musicians at Tanglewood in 2000, it became a venture that tours the world, promoting collaboration and celebrating international interaction. “The idea of culture is not so much to preserve tradition but to keep things alive and to evolve things,” says Ma, who has had to deal with accusations of cultural appropriation and dilution. Neville focuses on five members of the ensemble: Ma, the Paris-born Chinese-American cellist who has been a star his whole life (archival footage shows him at age seven with Leonard Bernstein, performing for President Kennedy and first lady Jacqueline); Chinese pipa virtuoso Wu Man, the first Chinese artist to play at the White House; Kinan Azmeh, a Syrian clarinetist who is the artistic director of the Damascus Festival Chamber Music Ensemble; Cristina Pato, a rock star on the gaita, the Galician bagpipe; and Iranian Kayhan Kalhor, a three-time Grammy nominee who is an expert on the kamancheh, the Persian bowed lute. Each shares stories of their personal history, focusing on their relationship with their native countries, which have undergone major changes over the last fifteen years.

They also explain how they almost didn’t continue after the events of 9/11, fearful of their Arabic connections and wondering whether proceeding with their mission was the right thing to do. “Everybody in the face of disaster reexamines who they are and their purpose,” Ma says, referring to their decision to go on. But their music transcends genre, history, and politics. “My intention is to represent my culture and the contribution that this very old culture made to human life,” Kalhor, who has been exiled from Iran, notes. And Ma adds, “The clearest reason for music, for culture, is it gives us meaning.” But Wu Man sums it all up: “There’s no East or West; it’s just a globe.”The Music of Strangers opens June 10 a the Angelika and Lincoln Plaza; Azmeh will give a special performance and participate in a Q&A following the 7:05 show on June 11 at Lincoln Plaza and the 5:00 show on June 12 at the Angelika, moderated by World Music Institute artistic director Par Neiburger. The Silk Road Ensemble has also released a companion album, Sing Me Home, which features such songs as “Green (Vincent’s Tune),” “Little Birdie,” “Ichichila,” “St. James Infirmary Blues,” and “Going Home,” featuring such guest artists as Bill Frisell, Abigail Washburn, Toumani Diabate, Sarah Jarosz, Gregory Porter, and Roomful of Teeth.

HUMAN RIGHTS WATCH FILM FESTIVAL 2016: ALMOST SUNRISE

ALMOST SUNRISE

Anthony Anderson and Tom Voss go for a long walk to promote military veterans’ health issues in ALMOST SUNRISE

ALMOST SUNRISE (Michael Collins, 2016)
Saturday, June 11, 9:15, Film Society of Lincoln Center, Walter Reade Theater, 165 West 65th St. between Eighth Ave. & Broadway, 212-875-5050
Monday, June 13, 6:30, IFC Center, 323 Sixth Ave. at West Third St., 212-924-7771
Festival runs June 10-19
ff.hrw.org/new-york
sunrisedocumentary.com

Michael Collins’s emotionally gripping documentary, Almost Sunrise, is built around an absolutely shocking statistic: According to the Department of Veteran Affairs, twenty-two U.S. veterans commit suicide every day. That’s one self-inflicted death every sixty-five minutes. In the film, two young veterans of Operation Iraqi Freedom, facing depression and suicidal thoughts themselves, decide to walk from their homes in Milwaukee, Wisconsin, to Los Angeles, California, in order to clear their own heads and raise awareness of this horrifying issue. Tom Voss and Anthony Anderson, a pair of big, bushy-haired men, became media darlings as they continued what became known as Veterans Trek, meeting with local press along the way and occasionally being joined by other veterans and supporters for parts of the 2,700-mile walk. But for much of the time, it’s just them against the elements, wandering across long stretches of deserted highways in the middle of nowhere, photographed beautifully by Clarissa de los Reyes. The two men intimately open up to Collins, who is with them every step of the pilgrimage; they share their thoughts about their families and speak dramatically about “moral injury,” a form of PTSD that the film describes as “a wound to the soul, caused by participation in events that violate one’s deeply held sense of right and wrong.” Similar distress is examined in Sonia Kenneback’s National Bird, in which military personnel working in the U.S. drone program try to deal with how they will never know the results of their classified operations, whether they hit the correct targets or whether they caused so-called collateral damage to innocent civilians.

In Almost Sunrise, Emmett Cullen, a close friend of Voss’s who served alongside him in Iraq, explains, “After you see enough people getting hurt, and see other people get killed, you start to write yourself off in a way. You’re kind of resigned to the fact that you might as well just consider yourself already dead, and if you make it home, you’re lucky. ’Cause that’s the only real mental shift you can make to make it through those kinds of scenarios without kind of freaking out,” adding, “Mentally, you’re processing the situation you’re in, and the dangers, but you’re not feeling it. So that carries over to civilian life when you get out.” Both Voss and Anderson share their struggles with that transition, reaching deep inside themselves. The section near the end in which Voss turns to holistic breathing techniques feels tacked on, almost like an infomercial for that specific healing process, regardless of its success. But the rest of Almost Sunrise, which features a score by Adam Crystal and music by Yuka Honda and Nels Cline, is a sobering look at what soldiers go through in war and some of the profound psychological issues they have to face when they come home. Almost Sunrise is screening twice at the 2016 Human Rights Watch Film Festival, on June 11 at 9:15 at IFC Center and June 13 at 6:30 at the Walter Reade Theater, both followed by a Q&A with Collins, producer Marty Syjuco, Voss, and Anderson, with his wife, Holly.

SPECIAL STORYTIME WITH ANNA RAFF: THE WRONG SIDE OF THE BED

anna raff

Who: Anna Raff
What: Storytelling
Where: The Astoria Bookshop, 31-29 31st St., 718-278-2665
When: Saturday, June 11, free, 11:30 am
Why: “When you wake up on the wrong side of the bed . . . you’re in for a BAD day.” So begins the new picture book The Wrong Side of the Bed (G. P. Putnam’s Sons Books for Young Readers, March 2016, $16.99), in which writer Lisa M. Bakos and illustrator Anna Raff show just how lousy things can get until . . . On June 11 at 11:30, Raff, who has also illustrated such books as A Big Surprise for Little Card by Charise Mericle Harper, You Are Not a Cat by Sharon G. Flake, and World Rat Day by J. Patrick Lewis, will be at the Astoria Bookshop for a special storytime session that should be a fun way to start a day on a good note.