“Isn’t she a replica of myself?” Maggie Cheung says of Chinese actress Ruan Ling-yu in 1991’s Center Stage, in which Cheung plays Ruan as well as herself. “Maggie, may I ask if you wish to be remembered half a century later?” a man asks, to which Cheung responds, “That’s not so important to me. If future people do remember me, it won’t be the same as Ruan Ling-yu, as she halted her career at the age of twenty-five, when she was at her most glorious. Now she is a legend.” The Hong Kong–born Cheung, a former model and beauty queen, has long been a legend herself, having made more than ninety films since her career began in 1984, when she was nineteen; current and future people are sure to remember the glamorous superstar who continues to help spread Chinese cinema around the world even though she retired from acting in 2010.
In Center Stage, Cheung is radiant as both herself and Ruan as director Stanley Kwan goes back and forth between the present, as Cheung is making the film, and the past, as she portrays Ruan rising from an extra to a star in the late 1920s and early 1930s, at the same time Japan is mounting attacks against China. Cheung, who was named Best Actress at prestigious film festivals in Berlin, Chicago, Taiwan, and Hong Kong for the role, is joined by a stellar cast, including Chen Yen-yen, Lily Li, Tony Leung Ka-fai, Carina Lau, and Chin Han; the real Ruan is seen in archival footage.
For its thirty-fifth anniversary, Center Stage, also known simply as Actress, is screening in a new 4K restoration at Film Forum from August 7 to 13; Kwan, who has also directed such films as Women,Full Moon in New York, and First Night Nerves, will be on hand for Q&As following the 6:30 shows on August 7 and 8, copresented by the New York Asian Film Festival. Alas, Cheung, who makes very rare public appearances and eschews interviews, will not be there.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]
“Summer of Moomin” continues at New York Botanical Garden through September 13 (photo by Marlon Co. / courtesy the New York Botanical Garden)
SUMMER OF MOOMIN
The New York Botanical Garden
Everett Children’s Adventure Garden
2900 Southern Blvd., Bronx
August 8-9, noon – 5:30, $17 children two to twelve, $35 students and seniors, $39 adults
Exhibit on view through September 13 www.nybg.org
The New York Botanical Garden’s “Summer of Moomin” has a special Moomin’s Day Weekend planned for August 8 and 9, two days of culinary adventures, cooking demonstrations, planting, maker stations, and more in the Edible Academy.
Begun in 1945 by Finnish painter, author, and illustrator Tove Jansson, the Moomin books, comic strips, stage productions, animated television series, and movies share the tales of such beloved characters as Moomintroll, Snufkin, Snorkmaiden, Hemulen, Moominpappa, Moominmamma, and Little My, all of whom you can find along a winding trail through Moominvalley in the Everett Children’s Adventure Garden filled with quotes, toys, plants and flowers, a tent, book excerpts, crafts, a kitchen, interactive elements, a puppet theater, and other fun surprises. There is also a booklet with games and activities and details about the world of Moomin.
“The stories offer a very happy and peaceful way to deal with some very complex issues of life and living and being together in a way that we don’t even notice, but we’re learning,” Tove’s niece Sophia Jansson said at the opening of the exhibit. “But Tove had some very important core values that were all about tolerance, friendship, and respect for nature.”
While at the NYBG, don’t miss the colorful, wide-ranging “Flower Power” exhibition, celebrating peace and love in the 1960s with paintings, photographs, music, drum circles, craft workshops, ornately designed VW buses, psychedelic nature displays, archival news reports, sound baths, and film screenings.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]
BALLET FESTIVAL
Joyce Theater
175 Eighth Ave. at 19th St.
August 4-16, $87-$102
212-645-2904 www.joyce.org
On October 22, 2025, Misty Copeland retired from American Ballet Theatre after a twenty-five year career that included her becoming the first Black female principal dancer in the company’s history. But that hasn’t appeared to slow down the forty-three-year-old Kansas City native.
In December, she had hip replacement surgery. In March, she performed in a musical tribute to the film Sinners at the Oscars. In April she was honored at the Misty Copeland Foundation Spring Benefit as part of the Celebrating Misty Campaign. In May she received the Medal for Distinguished Service from Teachers College at Columbia and walked the red carpet at the Met Gala as a member of the host committee. In June she was named the inaugural recipient of the Lincoln Center Luminary Award, received the Golden Plate Award from the American Academy of Achievement for “exceptional accomplishment in the sciences, the professions, business, industry, arts, literature, sports, entertainment, and public service,” and delivered the keynote commencement address at the Success Academy Charter Schools graduation. In July she attended the FIFA World Cup Final in her role as a skin-care spokesperson. And on August 25, her latest children’s book, Firebird Waltz, will be published.
If that were not enough, she is also curating this year’s Ballet Festival, which runs August 4–16 and features dancers from American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Dance Theatre of Harlem, Houston Ballet, and Complexions Contemporary Ballet, performing works by Ingrid Silva, Kyle Abraham, Bob Fosse, Houston Thomas, José Limón, Rudolf Nureyev, Dwight Rhoden, and Aleisha Walker the first week and Stanton Welch AM, Andrea Miller, Alonzo King, John Taras, Roland Petit, James Whiteside, and Ilo the second. Among the dancers are Madison Brown, Guillaume Diop, Joe Gonzales, Babatunji Johnson, Sae Eun Park, Taylor Stanley, April Watson, and Harper Watters.
“At the heart of my curation for The Joyce Ballet Festival is a celebration of Black, Brown, and Queer voices,” Copeland wrote on Instagram. “Ballet has a remarkable history, and I believe it grows stronger when we create space for a wider range of artists and perspectives. This festival honors that history while celebrating the artists expanding what ballet can be. I’m so excited to share these extraordinary performances with you.”
There will be a Summer Soirée on August 4, a Curtain Chat with Copeland and Complexions cofounder Desmond Richardson on August 5, and a teen ballet workshop on August 8 at New York Center for Creativity & Dance.
So what are you up to in your retirement?
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Lisa Weinert brings her Narrative Healing program to the Coffee House on August 5 (photo courtesy Lisa Weinert)
CREATIVE RESET: AN INTERACTIVE LITERARY & CREATIVE GATHERING
Coffee House Club at the Salmagundi CLub
47 Fifth Ave. between Eleventh & Twelfth Sts.
Wednesday, August 5, $75-$150 (includes signed book),6:00 www.thecoffeehouseclub.com www.lisaweinert.com
“Most writing books, journaling courses, and creative writing programs begin by putting the pen to the page. At Narrative Healing, we begin with the body,” native New Yorker Lisa Weinert explains in the introduction to her 2023 book, Narrative Healing: Awaken the Power of Your Story. “We offer a new paradigm for healing from trauma, tapping into creativity, and sharing our stories in the world. The premise here is simple: as we are able to better know our own stories, we are better able to take in the humanity of those around us. My hope is that if we start to listen to the body when it whispers, we won’t have to wait for it to scream to hear what it has to say. And we will thus have the capacity to listen to others too.”
A licensed social worker, certified yoga teacher, book coach, and public speaker, Weinert founded Narrative Healing in 2016, guided by her belief in storytelling as a form of medicine for the body, mind, and spirit. She has since led writing retreats and workshops in the United States and abroad, welcoming writers from around the world. On August 5, she returns to her hometown for her first Narrative Healing event in New York City in several years: “Creative Reset: An Interactive Literary and Creative Gathering.”
“I’m so honored to bring Narrative Healing to the historic Salmagundi Club for a special evening presented by the Coffee House,” Weinert told twi-ny. “After spending the past few years completing my MSW and exploring the healing power of storytelling through a social work lens, I’m so happy to be returning to New York’s literary community. It feels like such a gift to come together in person and create a space where we can slow down, listen within, write, and connect through our stories. I’m so grateful to [Coffee House executive director] Julian Tepper for presenting the evening and to [Salmagundi interim executive director] Paul Morris for welcoming us into this extraordinary space.”
The event will feature guided writing and reflection prompts, mindfulness and embodied awareness practices, brief paired and group conversations, live piano and atmospheric music, and a quiet space for private writing, sketching, reflection, and listening. Attendees don’t need any prior experience with such disciplines in order to participate, and everyone is encouraged to proceed at their own pace.
“This partnership reflects the Coffee House Club’s commitment to creating spaces where creativity, thoughtful conversation, and artistic community can flourish,” Tepper told twi-ny. “We’re delighted to partner with Lisa Weinert because her vision of creativity as a practice of reflection, connection, and community beautifully aligns with the club’s own literary and artistic tradition.”
The Coffee House’s history dates back to 1915, when Vanity Fair editor Frank Crowninshield helped form the Foes of Finance, a collective of New Yorkers from intellectual, artistic, literary, and theatrical circles whose constitution declared: “No Officers. No Charge Accounts. No Liveries. No Tips. No Set Speeches. NO RULES.” The Salmagundi Club was founded in 1871 by a group of artists and patrons.
Tickets for “Creative Reset” range from $75 (community) to $125 (standard) and $150 (supporter), each including a signed copy of Narrative Healing: Awaken the Power of Your Story.
As I noted in a September 2023 twi-ny talk, “Weinert exudes a natural warmth and charm, building communities of friends and colleagues who mingle and then form bonds and relationships of their own.”
You can expect the same thing to happen August 5 at the Coffee House Club.
[Lisa Weinert also writes the Substack “The Writing Body.” Mark Rifkin is a Brooklyn-born, Manhattan-based writer; visit his Substack here to find out how you can win a free copy of Narrative Healing.]
Tuan Andrew Nguyen’s High Line Plinth commission is focus of lecture and guided meditation on August 5 (photo by twi-ny/mdr)
Who:Tashi Chödrön,Donald S. Lopez Jr.,Jungwon Kim What:Lecture and guided meditation Where:The High Line Spur, Thirtieth St. & Tenth Ave. When: Wednesday, August 5, free with advance RSVP, 12:30 Why: “Art history, or history, human history, is a discover of all the objects that we’ve left behind,” Việtnamese artist Tuan Andrew Nguyen says in a video about his High Line Plinth commission, The Light That Shines Through the Universe. “The objects are trying to tell us a story. And I think that’s fascinating.”
Nguyen’s monumental twenty-seven-foot-high sandstone sculpture is fascinating, a tribute to two sixth-century Bamiyan Buddhas that were destroyed by the Taliban in 2001. It also recalls the attacks on the World Trade Center six months later.
On August 5 at 12:30, the High Line and the Rubin Museum of Himalayan Art will present “The Nature of Light,” the latest monthly lecture and guided meditation that delves into The Light That Shines Through the Universe. Hosted by Rubin programs and communities ambassador Tashi Chödrön, the event will feature a talk by Donald S. Lopez Jr., professor of Buddhist and Tibetan studies at the University of Michigan and author of Buddhism: A Journey through History, followed by a guided meditation led by Love Circle facilitator, Plum Village Tradition practitioner, writer, cultural worker, and Columbia director of graduate studies Jungwon Kim, who believes, “We must ritualize the healing, not the trauma.”
Admission is free with advance RSVP; The Light That Shines Through the Universe will remain on view through fall 2027. The series concludes October 10 with “Monuments to War,” featuring Monuments Lab deputy director Nico Rodriguez and Shambhala teacher Steve Clorfeine.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]
Who:Storm Cuff,Stefan Falke What:Photoville Summer Artist Walk: Hudson Yards Where:Bella Abzug Park at Hudson Yards, 533 West Thirty-Fourth St. When: Saturday, August 1, free with advance RSVP, 11:30 am Why: The Photoville Summer Artist Walk series continues August 1 at 11:30 am with two photographers who hold a mirror up to New York City — in one case, literally. The hourlong tour, which begins in Bella Abzug Park at Hudson Yards, features Brooklyn-born multidisciplinary artist Storm Cuff and NYC-based German-American photographer Stefan Falke. Both participated in Photoville this year, Storm Cuff with Vehicle. The Chosen Ones, Falke with Reflecting New York.
“You need a very low aperture and a corresponding amount of light in order to produce a sharp image. Even the smallest movement of the handheld mirror is magnified in the camera; that’s just a mathematical phenomenon,” Falke says in the published Reflecting New York book, consisting of photos of him holding up a mirror at such locations as the Chrysler Building, Coney Island, the Roosevelt Island Tram, the Unisphere in Flushing Meadows Park, the Empire State Building, and Hudson Yards.
“I hope it carries the weight of deliberateness. That nothing about it feels accidental. That even without my voice present, the work communicates that it was built with care, a responsibility to who it represents. I want it to retain clarity about who shaped it and why,” Storm Cuff told ColorBloc magazine about her photos of Black men and women around classic cars. “I hope it carries momentum. That it doesn’t feel static on a page and feels like part of something still moving. That someone younger might encounter it and feel permission, not just to admire it, but to build beyond it. When the work moves without me, it becomes a kind of ambassador. I want it to continue doing what it was built to do: propel and remind.”
Admission is free with advance RSVP to what should be a special event.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]
New Penny Lane documentary details Flaco the owl’s unique New York City adventure
WILD INSIDE (Penny Lane, 2026)
IFC Center
323 Sixth Ave. at West Third St.
Opens Friday, July 31 www.ifccenter.com
On February 2, 2023, an unexpected animal suddenly appeared on a Fifth Ave. sidewalk, becoming an instant sensation.
No, it wasn’t a groundhog looking for its shadow. It was a glorious Eurasian eagle-owl named Flaco, who had escaped from the Central Park Zoo after someone had cut a hole in his steel mesh cage. The thirteen-year-old bird captivated the city, the country, and the world for more than a year as he traversed Manhattan, adapting to his newfound freedom by learning how to survive on his own, unfazed by — or perhaps reveling in — the media attention and the dozens of owlers who tracked his every move with binoculars and high-powered cameras.
Documentarian Penny Lane shares the remarkable tale of Flaco in the gently warm and touching — and ravishingly dramatic — Wild Inside, making its world premiere at IFC Center on July 31. Incorporating crowd-sourced photos and videos, news reports, eyewitness accounts, cute animation, and expert opinions, Lane and editor Hannah Buck transform the adventure into a compelling narrative of love and loneliness, of obsession and desperation, an apt metaphor for who we are and what we want and need in the twenty-first century. Birder after birder projects their fears and desires onto Flaco and his journey, an odyssey that goes well beyond Free Willy territory.
“The first time I saw him, I felt protective of him,” Jacqueline Emery says.
“I felt his pain,” JP Borum, known as the Bunny Lady because she rescues rabbits in the park, explains.
“After little more than a week, people were relating to Flaco. They were identifying with him and seeing him as a hero,” David Barrett points out.
As these birders celebrate Flaco’s reinvigorated life, one expresses his concern. “I think I came to this story with an understanding of really the dangers owls face being in Manhattan. . . . There were a lot of people there that night the zoo almost got him that were excited that he got free, and I was just like, ‘No, he’s going to die,’” D. Bruce Yolton admits, referring to the zoo’s attempt to capture Flaco and bring him back to his previous enclosure, efforts they abandoned after a week.
Lane, an avid birder who has made such previous well-regarded nonfiction features as Hail Satan?,Our Nixon, and “Nuts!,” was drawn into the proceedings from the very beginning, when a friend, the first person to see Flaco outside his cage, texted her photos of Flaco the night he was discovered on the street. “It’s rare that a story just falls into my lap and is so immediately capable of demanding my full attention,” she notes in her director’s statement. “Flaco was writing his own story and the rest of us were just watching. And yes, we were watching!”
We were watching, and Wild Inside gives us the chance to watch yet again, this time much more up close and intimately. It’s impossible not to form an emotional bond with Flaco as Lane takes us from the zoo to the park, from the Lower East Side to the Upper West, as Flaco explores his burgeoning independence and searches for a companion, roosting on rooftop edges of tall buildings and hooting out love calls like they’re the Bat signal.
A tight-knit community forms around Flaco, including a man and a woman who get married. When Flaco disappears for a few days, people grow despondent. Sarah Bramwell became so involved that her family was concerned for her mental health. “I had been so worried about him. I mean, so worried, like a mother would be worried, right?” she concedes.
Even though owls are predators who are not often friendly or affectionate with humans, Flaco seems to be making a direct connection to his dedicated fans, as shown in two stunning scenes in which — well, to reveal more would spoil some of the many surprises the film has in store for viewers.
Lane also raises a key issue and a source of much disagreement: Would Flaco be better off back in the zoo, where most of his needs were met on a daily basis, or flying free in the wilds of Manhattan, where danger awaits around every corner? It’s a question many of us ask ourselves when we consider our lives, both personal and professional, whether we can or should take certain risks to find out who we truly are. We cannot watch Wild Inside and not internalize Flaco’s story ourselves; when it comes down to it, we are Flaco, and Flaco is us. We need Flaco — but does Flaco need us?
“The moment you doubt whether you can fly, you cease for ever to be able to do it,” J. M. Barrie wrote in Peter Pan.
Flaco gives us all hope that one day, maybe, we can fly as well.
[Several screenings from July 31 to August 4 will be followed by Q&As with Lane, DOC NYC artistic director Jaie Laplante, and Emery and Lei as well as Village birdwatching tours. Mark Rifkin is a Brooklyn-born, Manhattan-based writer; you can follow him on Substack here.]
