Tag Archives: isabelle huppert

MICHAEL HANEKE

Daniel Autieul and Juliette Binoche star in Michael Haneke’s Caché

CACHÉ (HIDDEN) (Michael Haneke, 2005)
Film Forum
209 West Houston St.
Friday, November 17, 1:00, 3:45, 7:00
Thursday, November 23, 5:20
Series runs November 17-23
212-727-8110
filmforum.org
www.sonyclassics.com/cache

In preparation for the December 22 opening of his latest feature, Happy End, Film Forum is taking a look back at the career of Austrian writer-director Michael Haneke with a mix of some of his most well known works alongside some rarely screened gems, beginning with Caché. Haneke was named Best Director at Cannes for this slow-moving yet gripping psychological drama about a seemingly happy French family whose lives are about to be torn apart. Caché stars Daniel Auteil as Georges, the host of a literary public television talk show, and Juliette Binoche as his wife, Anne, a book editor. One day a mysterious videotape is left for them, showing a continuous shot of their house. More tapes follow, wrapped in childish drawings of a boy with blood coming out of his mouth. Fearing for the safety of their son, Pierrot (Lester Makedonsky), they go to the police, who say they cannot do anything until an actual crime has been committed. As the tapes reveal more information and invite more danger, Georges’s secrets and lies threaten the future of his marriage. Caché is a tense, involving thriller that is both uncomfortable and captivating to watch. Haneke zooms in closely on the relationship between Georges and Anne, keeping all other characters in the background; in fact, there is no musical score or even any incidental music to enhance the searing emotions coming from Auteil and Binoche. Winner of numerous year-end critics awards for Best Foreign Language Film, Caché is screening November 17 and 23 at Film Forum. Oh, and be sure to pay close attention to the long final shot for just one more crucial twist that many people in the audience will miss.

There’s nothing funny about Michael Haneke’s Funny Games

FUNNY GAMES (Michael Haneke, 1997)
Saturday, November 18, 9:20
Wednesday, November 22, 12:30, 2:40, 4:45, 9:40
filmforum.org

Michael Haneke’s Funny Games is a harrowing home invasion movie that is as brutal as it is ultimately frustrating. Haneke (71 Fragments of a Chronology of Chance, The Seventh Continent) manipulates the audience nearly as much as he does the characters on-screen, even breaking the fourth wall by having one of the villains address the viewer several times. When Anna (Susanne Lothar), Georg (Ulrich Mühe from The Lives of Others), and their son, Schorschi (Stefan Clapczynski), head to their summer vacation home on a lake, they have no idea what lies in store for them. A man (Arno Frisch) claiming to be a friend of their neighbors’ shows up asking for some eggs, but there is a subtle malevolence behind his odd demeanor. He is soon joined by a companion (Frank Giering) who insists on trying out one of Georg’s golf clubs. It’s not long before the two men, who alternately call each other Peter and Paul, Tom and Jerry, and Beavis and Butt-Head, have severely broken Georg’s leg, sexually harass Anna, and put a bag over Schorschi’s head, all for no apparent reason except that they are bored and want to play some games, the more dangerous the better. It’s a tense, frightening film that never lets up, even when it appears to be over. The soundtrack juices up the horror, with classical music by Mozart and Handel offset by screeching punk by John Zorn and Naked City. Mühe and Lothar later reunited for Nicole Mosleh’s Nemesis, which was completed shortly before Mühe’s sudden death from stomach cancer in 2007. Haneke made an American remake of Funny Games in 2008, with Tim Roth as George, Naomi Watts as Anna, Brady Corbet as Peter, and Michael Pitt as Paul, with an appearance by Frisch as well. The original Funny Games is screening November 18 and 22 at Film Forum as part of the Michael Haneke tribute, which runs November 17 to 23 and also includes Haneke’s Code Unknown, Amour, The Seventh Continent, The Piano Teacher, The White Ribbon, 71 Fragments of a Chronology of Chance, Benny’s Video, and Caché.

Jean-Louis Trintignant and Emmanuelle Riva play a married couple facing tragedy in Michael Haneke’s brilliant Amour

AMOUR (Michael Haneke, 2012)
Sunday, November 19, 12:30, 3:15, 6:00
Monday, November 20, 2:45
Thursday, November 23, 12:30
filmforum.org
www.sonyclassics.com/amour

Legendary French actor Jean-Louis Trintignant puts an exclamation point on his long, distinguished career with Amour, one of the most beautiful love stories ever told. In his first film in nearly a decade, Trintignant, the star of such classics as Z, My Night at Maud’s, A Man and a Woman, and The Conformist, plays Georges, an octogenarian who is immediately concerned when his wife, Anne (Oscar nominee Emmanuelle Riva), suddenly freezes for a few moments, unable to speak, hear, move, or recognize anything. So begins a downward spiral in which Georges takes care of his ailing wife by himself, refusing help from his daughter, Eva (Isabelle Huppert), as he faces the grim situation with grace and dignity. A genuine romance for the ages, Amour is brilliantly written and directed by Michael Haneke, earning the Austrian filmmaker an Oscar for Best Screenplay and his second Palme d’Or, following 2009’s The White Ribbon. Haneke (Benny’s Video, The Piano Teacher) and cinematographer Darius Khondji allow the heartbreaking tale to unfold in long interior shots with very little camera movement, spread across more than two hours. Despite its length, the film is far from torturous; instead, it is filled with quietly beautiful moments. Trintignant, eighty-two when the film was released, is magnificent as Georges, his every physical movement and eye glance rendered with powerful yet gentle emotions, whether he’s preparing food for Anne or trying to catch a bird that has flown into the apartment. It’s an unforgettable performance in an unforgettable film. Amour, which was nominated for five Academy Awards, including Best Picture and Best Foreign-Language Film, winning the latter in addition to the screenplay honor, is being shown at Film Forum November 19, 20, and 23.

FALSE CONFESSIONS

Araminte (Isabelle Huppert) and Dorante (Louis Garrel) contemplate love and romance in False Confessions

FALSE CONFESSIONS (LES FAUSSES CONFIDENCES) (Luc Bondy, 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, July 14
bigworldpictures.org

Swiss-born French opera and theater director Luc Bondy also made several films during his five-decade career, the last of which, False Confessions, opens on Bastille Day at the Angelika and Lincoln Plaza. Based on Pierre Carlet de Chamberlain de Marivaux’s 1737 play, Les Fausses Confidences, the film was made at the same time Bondy was directing a stage version of the romantic comedy of manners at the Théâtre de l’Odéon; during the day, he would shoot scenes for the film, and the same cast would then perform at the theater for a live audience at night. The mesmerizing Isabelle Huppert stars as Araminte, a wealthy, and very sexy, widow who is convinced by her valet, Dubois (Yves Jacques), to hire the innately handsome Dorante (Louis Garrel) as her private secretary. Dubois’s plan is to have his former boss, Dorante, woo Araminte and marry her for her money. But Araminte is already being courted by the dastardly Count (Jean-Pierre Malo), who is also lording over her with a questionable legal dispute that he promises will go away once they are wed. Meanwhile, Dorante’s uncle, Monsieur Rémy (Bernard Verley), is trying to make a reputable match between his nephew and Marton (Manon Combes), Araminte’s servant and companion. Chaos soon reigns as Dorante does indeed fall in love with Araminte, who understands that social graces prevent their union, and Marton falls head-over-heels for Dorante.

Marton (Manon Combes) tries to hold on to Dorante (Louis Garrel) in Luc Bondy’s adaptation of Marivaux play

Bondy and cowriter Geoffrey Layton have moved the setting to twenty-first-century Paris, but the story remains in the eighteenth, creating an often troubling dichotomy. Both Araminte and Marton desire Dorante, but Garrel plays him with a stiff indifference, so it is hard to see his charm. Bulle Ogier goes way over the top as Araminte’s annoyingly gauche mother, Madame Argante, who orders her daughter to fire Dorante and marry the Count. Various miscommunications, both accidental and intended, only serve to continue the rather droll, uninspired plot, which, despite all the talk of love and romance, is curiously dull. But at the center of it all is Huppert, one of the world’s greatest actresses, who is radiant throughout it all, looking fabulous in Moidele Bickel’s costumes, whether doing Tai Chi, sitting on a park bench, or draped in an elegant white silk robe. Aside from Huppert, the production, which was completed by Bondy’s wife, Marie-Louise Bischofberger, after his death in November 2015 at the age of sixty-seven, is rather lifeless; as the finale reveals, there is a big difference between stage and screen, and what works for one does not necessarily work for the other. Bondy leaves behind quite a legacy, but this TV-movie version of the Marivaux play is a lesser part of it.

SCREENING + LIVE EVENT: ELLE WITH ISABELLE HUPPERT IN PERSON

The purr-fectly delightful Isabelle Huppert will discuss ELLE at a special screening and Q&A at the Museum of the Moving Image on January 4

The purr-fectly delightful Isabelle Huppert will discuss ELLE at special screening and Q&A at the Museum of the Moving Image on January 4

Who: Isabelle Huppert
What: Elle with Isabelle Huppert in person
Where: Museum of the Moving Image, 35th Ave. at 36th St., Astoria, 718-777-6800
When: Wednesday, January 4, $25, 7:00
Why: French superstar Isabelle Huppert has been garnering worldwide acclaim for her latest film, Elle, directed by Paul Verhoeven, whose previous works include RoboCop, Basic Instinct, Showgirls, and Black Book. On January 4 at 7:00, the sixty-three-year-old Huppert, who has made more than 120 films, from The Lacemaker, Loulou, and Coup de Torchon to La Cérémonie, The Piano Teacher, and Heaven’s Gate, will be at the Museum of the Moving Image for a Q&A and special screening of Elle, a disturbing tour de force showcasing Huppert’s mesmerizing performance as either victim or monster. Feminists and film theorists might fight about this one for years; the rest of us can just marvel at Huppert, unable to take our eyes off her for a second.

ISABELLE HUPPERT: WHITE MATERIAL

Isabelle Huppert is determined to see her coffee crop through to fruition despite the growing dangers in Claire Denis’s WHITE MATERIAL

WHITE MATERIAL (Claire Denis, 2009)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
Saturday, November 19, 10:00
Series runs November 19-21
212-660-0312
metrograph.com

You will never hear us complaining about too much Isabelle Huppert. The sixty-three-year-old French actress has been all over the place recently, having appeared in no fewer than seven films in 2015–16 in addition to touring the world in Krzysztof Warlikowski’s Phèdre(s), which came to BAM this past September, and appearing with Cate Blanchett in Jean Genet’s The Maids at City Center in 2014. In conjunction with the release of her latest two films, Mia Hansen-Løve’s Things to Come and Paul Verhoeven’s Elle, Metrograph is hosting a seven-movie Huppert retrospective this weekend, with the grand actress on hand on the Lower East Side for a Q&A following Hong Sang-soo’s In Another Country and to introduce Curtis Hanson’s L.A. Confidential. The series also includes Michael Haneke’s The Piano Teacher, Catherine Breillat’s Abuse of Weakness, Hal Hartley’s Amateur, and Ursula Maier’s Hom. as well as Claire Denis’s White Material, which takes place in an unnamed West African nation besieged by a bloody civil war between rebels and the military government. Huppert stars as Maria Vial, who steadfastly refuses to leave her coffee plantation, determined to see the last crop through to fruition. Despite pleas from the French army, which is vacating the country; her ex-husband, André (Christophe Lambert), who is attempting to sell the plantation out from under her; and her workers, whose lives are in danger, Maria is unwilling to give up her home and way of life, apparently blind to what is going on all around her.

She seems to be living in her own world, as if all the outside forces exploding around her do not affect her and her family. Without thinking twice, she even allows the Boxer (Isaach De Bankolé) to stay there, the seriously wounded leader of the rebel militia, not considering what kind of dire jeopardy that could result in. But when her slacker son, Manuel (Nicolas Duvauchelle), freaks out, she is forced to take a harder look at reality, but even then she continues to see only what she wants to see. A selection of both the New York and Venice Film Festivals, White Material is an often obvious yet compelling look at the last remnants of postcolonial European domination as a new Africa is being born in disorder and violence. Directed and cowritten (with French playwright Marie Ndiaye) by Denis (Chocolat, Beau Travail), who was born in Paris and raised in Africa, the film has a central flaw in its premise that viewers will either buy or reject: whether they accept Maria’s blindness to the evolving situation that has everyone else on the run. Watching Maria’s actions can be infuriating, and in the hands of another actress they might not have worked, but Huppert is mesmerizing in the decidedly unglamorous role.

NEW YORK FILM FESTIVAL 2016

Director Mike Mills and star Annette Bening will present the world premiere of 20th CENTURY WOMEN at the New York Film Festival (photo by Merrick Morton)

Film Society of Lincoln Center, Walter Reade Theater, Elinor Bunin Munroe Film Center,
Bruno Walter Auditorium, Alice Tully Hall
West 65th St. between Broadway & Amsterdam Ave.
September 30 – October 16
212-875-5601
www.filmlinc.org/nyff2016

The fifty-fourth New York Film Festival gets under way on September 30 with Ava DuVernay’s 13th, kicking off more than two weeks of screenings and special events at the Film Society of Lincoln Center. The centerpiece selection is Mike Mills’s 20th Century Woman, with James Gray’s The Lost City of Z closing things on October 15. Divided into Main Slate, Convergence, Explorations, Projections, Retrospectives, Revivals, and Spotlight on Documentary, this year’s lineup also features works by Paul Verhoeven, Bertrand Tavernier, Gianfranco Rosi, Bill Morrison, Cristian Mungiu, Ken Loach, Errol Morris, Pedro Almodóvar, Kenneth Lonergan, Jim Jarmusch, Olivier Assayas, Cristi Puiu, Kenneth Lonergan, Eugène Green, Jean-Pierre and Luc Dardenne, Douglas Gordon, and Hong Sang-soo, most of whom will be on hand for Q&As following select screenings. “A Brief Journey through French Cinema” includes films by Bertrand Tavernier, Robert Bresson, Jacques Becker, Julien Duvivier, Jean-Pierre Melville, and Jean Renoir, while a tribute to Henry Hathaway boasts a dozen movies, from Garden of Evil and Kiss of Death to Niagara and Rawhide. Among this year’s Revivals are Gillo Pontecorvo’s restored The Battle of Algiers, Bresson’s L’argent, Tomás Gutiérrez Alea’s Memories of Underdevelopment, and Marlon Brando’s One-Eyed Jacks. Below is a list of one highlight per day; keep checking twi-ny for reviews and further information.

Saturday, October 1
through
Sunday, October 16
Lives in Transit video installation by Global Lives Project, free, Furman Gallery, Walter Reade Theater

Saturday, October 1
Gimme Danger (Jim Jarmusch, 2016), followed by a Q&A with Jim Jarmusch and Iggy Pop, Alice Tully Hall, $25, 9:15

Sunday, October 2
Meet the Makers: Sherlock Holmes & the Internet of Things, with Lance Weller and Nick Fortugno, Howard Gilman Theater, free, 1:00

Wednesday, October 3
“The Psychology of Storytelling: Lindsay Doran,” with Oscar-nominated producer and studio executive Lindsay Doran, Howard Gilman Theater, 6:45

Tuesday, October 4
Dawson City: Frozen Time (Bill Morrison, 2016), followed by a Q&A with Bill Morrison, Francesca Beale Theater, $15, 9:00

Wednesday, October 5
Film Comment Live: A Quiet Passion (Terence Davies, 2016), followed by a Q&A with Terence Davies, Cynthia Nixon, and Sol Papadopoulos, Walter Reade Theater, 6:00

Thursday, October 6
The Death of Louis XIV (Albert Serra, 2016), followed by a Q&A with Albert Serra and Jean-Pierre Léaud, Alice Tully Hall, $20, 6:00

Friday, October 7
Harlan County USA, (Barbara Kopple, 1976), followed by a Q&A with Barbara Kopple, Walter Reade Theater, $15, 6:00

Saturday, October 8
Projections Program 2: Beyond Landscape, short films followed by Q&As with directors Rosa Barba, Tomonari Nishikawa, Sky Hopinka, and Brigid McCaffrey, Howard Gilman Theater, $15, 5:15

The one and only Jean-Pierre Léaud and director Albert Serra will be at the New York Film Festival to screen and discuss THE DEATH OF LOUIS XIV

Sunday, October 9
Restless Creature: Wendy Whelan (Linda Saffire & Adam Schlesinger, 2016), followed by a Q&A with Wendy Whelan, Linda Saffire, Adam Schlesinger, and other crew members, Walter Reade Theater, 3:30

Monday, October 10
Bright Lights: Starring Carrie Fisher and Debbie Reynolds (Alexis Bloom & Fisher Stevens, 2016), followed by a Q&A with Carrie Fisher, Alexis Bloom, and Fisher Stevens, Alice Tully Hall, $20, 6:00

Tuesday, October 11
My Entire High School Sinking into the Sea (Dash Shaw, 2016), followed by a Q&A with Dash Shaw, Howard Gilman Theater, $20, 6:00

Wednesday, October 12
Spotlight on Documentary: The Cinema Travellers (Shirley Abraham & Amit Madheshiya, 2016), followed by a Q&A with Shirley Abraham and Amit Madheshiya, Francesca Beale Theater, $15, 9:00

Thursday, October 13
HBO Directors Dialogues: Paul Verhoeven discussing Elle, Elinor Bunin Munroe amphitheater, free, 7:00

Friday, October 14
Explorations: Everything Else (Natalia Almada, 2016), followed by a Q&A with producer Daniela Alatorre, Walter Reade Theater, $15, 4:00

Saturday, October 15
Elle (Paul Verhoeven, 2016), followed by a Q&A with Paul Verhoeven and Isabelle Huppert, Alice Tully Hall, 3:00

PHAEDRA(S)

(photo courtesy of Odéon Théâtre De L’Europe) Avec: Isabelle Huppert, Agata Buzek, Andrzej Chyra, Alex Descas, Gael Kamilindi, Norah Krief, Rosalba Torres Guerrero. (photo by Pascal Victor/ArtComArt)

Krzysztof Warlikowski’s ambitious but bewildering PHAEDRA(S) had them running for the exits at BAM (photo by Pascal Victor/ArtComArt; courtesy of Odéon Théâtre De L’Europe)

PHAÈDRE(S)
Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St.
September 13-18, $30-$95
718-636-4100
www.bam.org

About halfway through the second act of Krzysztof Warlikowski’s three-and-a-half-hour Phaedra(s), continuing at BAM’s Harvey Theater through September 18, two people jumped over from the crowded row behind us and ran out through our far-more-empty row, barreling past us in a desperate attempt to get out of the theater as fast as they could. They probably regretted not leaving at intermission, as so many others had, allowing the rest of the audience to jockey for better seats. But even better seats didn’t significantly help Odéon-Théâtre de l’Europe’s dark and lurid multiple retelling of the Greek myth of Phaedra, the daughter of Minos and Pasiphaë and wife of Theseus who is made to fall in love with her stepson, Hippolyte, by the spurned Aphrodite. Isabelle Huppert, previously at BAM’s Next Wave Festival in 2005 in Sarah Kane’s 4.48 Psychose and in 2009 in Robert Wilson’s Quartett, plays Aphrodite, three versions of Phaedra, and Elizabeth Costello, the protagonist of J. M. Coetzee’s 2003 novel. The first act, based on writings by Wajdi Mouawad and inspired by Euripides and Seneca, inexplicably begins with the musical recitation of the Arabic poem “At-Atlal,” with no English-language translation as singer Norah Krief, dancer and choreographer Rosalba Torres Guerrero, and guitarist Grégoire Léauté turn in a head-scratching glam-rock performance. Soon Phaedra is trying to clean the blood pouring from between her legs while considering whether to bed down with Hippolyte (Gaël Kamilindi).

Isabelle Huppert appears as multiple Phaedras in Odéon-Théâtre de l’Europe production at BAM (photo courtesy of Odéon Théâtre De L’Europe)

In the second section, adapted from Kane’s Phaedra’s Love, a sloppy and messed-up Hippolyte (Andrzej Chyra), who has already slept with Phaedra’s daughter, Strophe (Agata Buzek), wants nothing to do with stepmom Phaedra no matter how much she insists on having some form of sex with him. In the third version, a talk-show host (Chyra) is interviewing writer and international lecturer Costello, the author of The House on Eccles Street, a retelling of James Joyce’s Ulysses from the point of view of his wife, Molly Bloom. Then, suddenly, about halfway through, Costello/Huppert literally lets down her hair and goes into a gorgeous, albeit brief, monologue taken from Racine’s famous 1677 version of Phaedra that momentarily makes us forget everything that has come before — Kamilindi as a barking dog, Phaedra dragging herself across the floor while grunting, Torres Guerrero strutting around the stage seemingly looking for a pole, Phaedra dry heaving into a sink, Chyra exposing his buttocks again and again, the shower scene from Psycho repeating on a small monitor, Phaedra looking on as Theseus (Alex Descas) humps her masked corpse, and annoying Warholian projections by Denis Guéguin that are reflected in mirrors on Malgorzata Szczesniak’s strange prison/locker room set, a mostly empty space save for a sink at the upper left, a shower head on the back wall, a vertical mirror in which part of the audience is visible (watching them sit openmouthed at the proceedings was somewhat interesting for a time), and a side room that occasionally slides out to the center. Those few minutes near the end reveal the heart of the story and let Huppert finally act as we know she can, and it’s probably the primary reason why the show received a wildly enthusiastic standing ovation from a crowd that was significantly smaller than it had been 210 minutes earlier.

TICKET ALERT: BAM 2016 NEXT WAVE FESTIVAL

Mikhail Baryshnikov channels Nijinsky in Robert Wilson’s LETTER TO A MAN (photo by Lucie Jansch)

Who: Performers and/or creators Mikhail Baryshnikov, Isabelle Huppert, Ivo van Hove, Robert Wilson, Peter Brook, John Jasperse, Godspeed You! Black Emperor, Alarm Will Sound, Howard Fishman, David Lang, Jonah Bokaer, Daniel Arsham, TR Warszawa, Cheek by Jowl, the Magnetic Fields, So Percussion, Wordless Music Orchestra, Shen Wei Dance Arts, Kyle Abraham / Abraham.In.Motion, Faye Driscoll, Mark Morris Dance Group, and many more
What: Annual fall interdisciplinary performance festival
Where: BAM Harvey Theater (651 Fulton St.), BAM Howard Gilman Opera House (30 Lafayette Ave.), BAM Fisher (321 Ashland Pl.)
When: September 7 – December 3
Why: Tickets for BAM’s 2016 Next Wave Festival have just gone on sale to the general public, but you better hurry if you want to see some of the hottest shows of what is always a great collection of innovative dance, music, film, theater, and hard-to-describe hybrid presentations from around the world. This year there are more than five dozen events, including performances, talks, and master classes. We don’t know about you, but we’ll be practically living at BAM this fall. Below are five of our don’t miss favorites.

Isabelle Huppert stars as a modern-day mythical queen in PHAEDRA(S) (photo by Pascal Victor/ArtComArt)

PHAEDRA(S)
BAM Harvey Theater
September 13-18, $30-$95
Isabelle Huppert is back at BAM, following her stunning turns in Sarah Kane’s 4.48 Psychosis in 2005 and Robert Wilson’s Quartett in 2009. This time she stars as the mythological queen in Phaedra(s), in which director Krzysztof Warlikowski and Odéon-Théâtre de l’Europe incorporate texts by Kane, Wajdi Mouawad, and J. M. Coetzee to tell the three-and-a-half-hour story of love and tragedy. On September 18, BAM will host the related panel discussion “Phaedra Interpreted” at Borough Hall as part of the Brooklyn Book Festival.

REMAINS
BAM Harvey Theater
September 21-24, $20-$45
John Jasperse, who presented the exhilarating Canyon at BAM in 2011, now looks back at his thirty-year career as well as toward the future in Remains, featuring dancers Maggie Cloud, Marc Crousillat, Burr Johnson, Heather Lang, Stuart Singer, and Claire Westby and music by John King. On September 22 at 2:00 ($30), Jasperse will teach a master class for intermediate to professional dancers at the Mark Morris Dance Center, and on September 23 at 6:00 ($25) he will participate in a talk with Tere O’Connor at BAM Fisher.

LETTER TO A MAN
BAM Harvey Theater
October 15-30, $35-$120
BAM regular Robert Wilson reteams with Mikhail Baryshnikov in this multimedia staging of the diaries of Vaslav Nijinsky; the two collaborated at BAM in 2014 with The Old Woman. Baryshnikov recently paid tribute to his friend Joseph Brodsky in Brodsky/Baryshnikov, while Wilson has presented such aural and visual spectacles at BAM as Quartett, The Black Rider, and Woyzeck. On October 24 at 7:00 at NYU’s Center for Ballet and the Arts, “Inside Nijinsky’s Diaries” will consist of an actor reading from the diaries, followed by a discussion (free with advance RSVP).

Ivo van Hove merges multiple Shakespeare plays into KINGS OF WAR (photo by Jan Versweyveld)

KINGS OF WAR
BAM Howard Gilman Opera House
November 3-6, $24-$130
In-demand director Ivo van Hove and Toneelgroep Amsterdam return to BAM for a four-and-a-half-hour adaptation of Shakespeare’s Henry V, Henry VI Parts I, II & III, and Richard III. Van Hove has previously staged such works as Angels in America, Cries and Whispers, and Antigone (with Juliette Binoche) at BAM, in addition to the double shot of A View from the Bridge and The Crucible on Broadway.

THANK YOU FOR COMING: PLAY
BAM Fisher
Judith and Alan Fishman Space
November 16-19, $25
Choreographer Faye Driscoll follows up Thank You for Coming: Attendance with this new work, which we got a sneak peek at this past weekend on Governors Island. Driscoll’s presentations (There is so much mad in me, 837 Venice Blvd.) are always involving and unpredictable, and this piece is no exception. Driscoll will also be teaching a master class on November 18 at 2:00 ($30) for performers at all levels.