New York City Repertory Cinema

[hearthesilence]

This is a depressing tweet:

“I know it’s all DCPs but the poor turnout at these Kira Muratova films playing FLC speaks poorly to NYC’s cinephile culture. These are films by a major director that have barely screened in America, some of them never before.”

[FrauBlucher]

Was there any preview write ups in the NYT or some place else? Curious to see whether there was any PR? (Oh the days of the Village Voice are sorely missed )

[Walter Kurtz]

Unfortunately, everyone was preoccupied watching Criterion Closet videos.

[hearthesilence]

Was there any preview write ups in the NYT or some place else? Curious to see whether there was any PR? (Oh the days of the Village Voice are sorely missed )

I'm not sure if Richard Brody likes her work, but I noticed he hasn't mentioned this retrospective at all on social media when he usually makes a big effort to promote hard-to-see films.

Otherwise, I only recall seeing a feature in the New York Review of Books and that's it - the New York Times had a piece on Brief Encounters and The Long Farewell back in August 2023 when the 4K restorations were first made available, so it's kind of disappointing they'd skip covering this retrospective altogether.

There is the big Naruse retrospective happening on weekends - all 35mm prints - and Film Forum's program celebrating Jack Lemmon's centennial is probably very popular (I keep seeing sold out notices for it), but I don't think those two would be siphoning off the audience for this.

[hearthesilence]

Speaking of poor turnout, David Yow of the Jesus Lizard was at Roxy Cinema to promote a new horror movie he's in. Usually their events with indie music icons do very well, but both shows with Yow didn't sell many tickets. The Film Stage even had a giveaway on Twitter for two free tickets and a poster, and all you had to do to enter was reply to the tweet - NOBODY replied.

[Drucker]

I check the Roxy website every week, and I am a huge Jesus Lizard fan, and I completely did not see that at all.

[hearthesilence]

FWIW this guy shared some photos. I wasn't prepared to see David Yow as a grizzled old man.

EDIT: Ah, "this guy" is actually a comic book writer.

[hearthesilence]

I guess history repeats itself. From the May 6, 2005 Chicago Reader:

The touring retrospective that will show at the Film Center was launched at Manhattan’s Walter Reade Theater a few weeks ago. I hope this series, along with [Vladimir Nepevny’s 2003 documentary] Kira and a new book about Muratova by Jane Taubman, will give [Kira Muratova] some overdue American attention — her films are rarely screened in the U.S. except at Russian-sponsored events. Unfortunately the New York Times, which often still sets the tone for national coverage of foreign films, ignored the series, perhaps in part because the New York Film Festival has always ignored her work.

Jim Hoberman covered it though. I imagine they screened 35mm prints then since DCP's hadn't taken over yet?

[AxeYou]

I went to quite a few of the Muratova screenings. Other than the opening night reception with The Asthenic Syndrome, turnout was pretty mediocre at best. On average it was much poorer than the Frederick Wiseman retrospective that Lincoln Center mounted in February. On the other hand, the panel discussion at the Ukrainian Institute on 5/17 had a sizeable audience, though it was very dense and academic. That said, I am grateful that Lincoln Center tends to put these less "popular" rarities out.

(Annoyingly, there was always someone talking during the screening or videotaping clips on their phones. Also, on his last day in NYC, co-curator Ivan Kozlenko graciously gave a very brief Q&A after his intro to Eternal Homecoming, but the quality of questions was baffling. One guy asked what he should know since he had not seen anything else in the series. And another lady hijacked half the time obsessing over whether she recognized a particular singer in one of the films. Half the audience ended up giving her the stare, yet that still failed to shut her up.)

In other news, the NY Polish Film Festival is running from 5/27-31, featuring some of Wajda's works (Kanał, Ashes and Diamonds, Everything for Sale, The Promised Land, Katyń, and Man of Iron). Scorsese will be introducing Ashes and Diamonds on 5/28. Surprisingly, there are still over 180 tickets available.

[hearthesilence]

Since Janus is involved, I hope the mediocre turnout doesn't translate into a reluctance on Criterion's part to release more of her films.

It's tough to gauge what will go over well - back in the 2010s, I remember the complete Béla Tarr retrospective doing really well, but then something like the enormous John Huston retrospective that was packed with famous films apparently didn't do well at all. Tarr's retrospective was hung on the theatrical opening of The Turin Horse which was already marketed as his farewell film, and I think that was probably an effective way of promoting it. Then again, so should a new 4K restoration of Muratova's greatest film, which is hard to find (and copies I've found online seem to have the subtitles messed up, as if they were synced to a censored version where they sliced out an entire section of the film that featured all the nudity). It's tempting to pin it on a lack of press but if opening night sold out, then clearly word got it. Again it's possible people turned out for that film and didn't see many others. Given how challenging it may be for newcomers, it may even have dissuaded a few to try their hand at more (which is why in another thread, I was reluctant to recommend it as an introduction to her work), but who knows.

[beamish14]

Since Janus is involved, I hope the mediocre turnout doesn't translate into a reluctance on Criterion's part to release more of her films.

It's tough to gauge what will go over well - back in the 2010s, I remember the complete Béla Tarr retrospective doing really well, but then something like the enormous John Huston retrospective that was packed with famous films apparently didn't do well at all. Tarr's retrospective was hung on the theatrical opening of The Turin Horse which was already marketed as his farewell film, and I think that was probably an effective way of promoting it. Then again, so should a new 4K restoration of Muratova's greatest film, which is hard to find (and copies I've found online seem to have the subtitles messed up, as if they were synced to a censored version where they sliced out an entire section of the film that featured all the nudity). It's tempting to pin it on a lack of press but if opening night sold out, then clearly word got it. Again it's possible people turned out for that film and didn't see many others. Given how challenging it may be for newcomers, it may even have dissuaded a few to try their hand at more (which is why in another thread, I was reluctant to recommend it as an introduction to her work), but who knows.

The very large John Huston and Seijun Suzuki retrospectives that eventually came to the Hammer Museum were had poor turnouts here as well. I was one of probably less than 15 people at Freud, and I remember barely anyone turning up for Kagero-Za or Capone Cries a Lot (good luck ever getting someone to pay to import a 35mm print of that again). L.A. audiences have their go-to favorites (anything David Lynch, Tarantino, Fincher) and they’re just not very adventurous when it comes to trying out filmmakers who don’t have that kind of exposure or who have received less critical attention in recent years

[AxeYou]

It's tempting to pin it on a lack of press but if opening night sold out, then clearly word got it. Again it's possible people turned out for that film and didn't see many others. Given how challenging it may be for newcomers, it may even have dissuaded a few to try their hand at more (which is why in another thread, I was reluctant to recommend it as an introduction to her work), but who knows.

Indeed. Anecdotally, a cinephile friend who I convinced to attend The Asthenic Syndrome with me was put off by its.. elusiveness and passed on the other screenings. I'd personally say Brief Encounters is probably a much better introduction.

Btw I don't believe even the opening night sold out. IIRC there were quite a few empty seats.

[hearthesilence]

I know the screening with Scorsese upthread isn't selling out, but I think the $50 price tag might be the reason (either that or it needs to be publicized better). I think getting big names to come out and present movies makes a huge difference. When the new restoration of Barbara Loden's Wanda premiered at MoMA, very few people I talked to knew what it was. The screening sold out thanks to Sofia Coppola and Tamara Jenkins - as advertised both of them showed up to introduce it. I've seen it happen with Wes Anderson introducing an obscure British film, again at MoMA. And the saddest example I can think of is when Souleymane Cissé himself made his last appearance in NYC, sitting in for a talk at the New York African Film Festival - as soon as they announced Scorsese's participation, all the slots were gone. Then days before the event, Scorsese had to cancel, and I think the turnout ended up being half capacity. The greatest living African filmmaker makes a rare appearance in his 80s and you really need another reason to show up for a free talk?

[beamish14]

I went to quite a few of the Muratova screenings. Other than the opening night reception with The Asthenic Syndrome, turnout was pretty mediocre at best. On average it was much poorer than the Frederick Wiseman retrospective that Lincoln Center mounted in February. On the other hand, the panel discussion at the Ukrainian Institute on 5/17 had a sizeable audience, though it was very dense and academic. That said, I am grateful that Lincoln Center tends to put these less "popular" rarities out.

(Annoyingly, there was always someone talking during the screening or videotaping clips on their phones. Also, on his last day in NYC, co-curator Ivan Kozlenko graciously gave a very brief Q&A after his intro to Eternal Homecoming, but the quality of questions was baffling. One guy asked what he should know since he had not seen anything else in the series. And another lady hijacked half the time obsessing over whether she recognized a particular singer in one of the films. Half the audience ended up giving her the stare, yet that still failed to shut her up.)

In other news, the NY Polish Film Festival is running from 5/27-31, featuring some of Wajda's works (Kanał, Ashes and Diamonds, Everything for Sale, The Promised Land, Katyń, and Man of Iron). Scorsese will be introducing Ashes and Diamonds on 5/28. Surprisingly, there are still over 180 tickets available.

We had a thread here some time back about terrible Q&A experiences. I usually duck out as soon as the moderators open the floor to the audience (although sometimes the moderators are just horrid, such as Elvis Mitchell and this complete jackass friend of Harmony Korine’s whom he decided to have on stage with him)

[hearthesilence]

I've seen more and more Q&A's forgoing audience questions or keeping it to only one or two while leaving it to the moderator. Usually works out for the best.

I should probably ask some myself, but when I've done that, it's usually because the guest didn't cover some technical aspect of the production I'm interested in, so I ask about that. Usually something general, but it's usually broad, like "please talk about how you filmed those scenes" or "please discuss how you did the music," etc.

I'd personally say Brief Encounters is probably a much better introduction.

I would agree. Same with any director whose earlier work may be more "conventional" or accessible - and a lot of times, it's better to go chronological so you can enjoy how they developed as artists.

[Andr913]

(Annoyingly, there was always someone talking during the screening or videotaping clips on their phones. Also, on his last day in NYC, co-curator Ivan Kozlenko graciously gave a very brief Q&A after his intro to Eternal Homecoming, but the quality of questions was baffling. One guy asked what he should know since he had not seen anything else in the series. And another lady hijacked half the time obsessing over whether she recognized a particular singer in one of the films. Half the audience ended up giving her the stare, yet that still failed to shut her up.)

I can’t say I found Kozlenko insisting on holding a Q&A after his intro gracious at all, I thought it was pretty attention seeking and he ought to have known how stupid the audience questions would be - he’s not the filmmaker and none of us have seen the movie yet! That said, I also am inclined to interpret this in bad faith because he was one of the people who thought recording on their phone was acceptable.

[AxeYou]

Ah yes I did catch him recording on his phone too, during The Sentimental Policeman if memory serves, and someone in the audience had to call out multiple times.

The Q&A though was more generally scoped to the entire retrospective, not the specific film yet to be shown. So I’ll at least give him credit for attempting to engage with the audience.

Fortunately, I did have a good audience Q&A experience after yesterday’s screening of Kanał at Scandanavian House. Annette Insdorf from Columbia and another professor from Poland answered quite a few quality questions on Wajda from the audience.

And re. the Ashes and Diamonds screening introduced by Scorsese: Marty’s intro was fantastic, but I thought the DCP looked extremely bad. DNR. Frozen grain around moving objects. Audio slightly out of sync. It didn’t open with the Janus logo, so seems to be the bad 2010s master that the “Martin Scorsese Presents …” series used and that Second Run later reused in their recent boxset, instead of Criterion’s superior 4K restoration. (Yet the festival used Criterion’s blu-ray cover in their marketing ha.)

[Yakushima]

A new 4K restoration (by Kadokawa Corporation) of the complete 137-minute version of Masayuki Suo's SHALL WE DANCE? will be screened at Film Forum Friday, May 30 – Thursday, June 12.

[hearthesilence]

Akira Kurosawa's RAN screens in 35mm on 6/20 at Japan Society.

[FrauBlucher]

Film Forum will screen a Kurosawa mini retrospective, all but one will be 4k ...btw... the schedule has not been uploaded to their site yet

[Black Hat]

Yikes, I think this is the first time a retrospective here has marketed itself as being in 4K. Reminds me of the Vitti/Antonioni collabs screening at Walter Reade being DCPs when they screened on 35 at Metrograph at the turn of the year.

[andyli]

Just watched BFI's Stray Dog on blu-ray and agreed with their decision not to present it in native 4K. I doubt there's any additional detail to be found from a 4K DCP. Still, this film needs to be seen, on disc or on screen, by as many people as possible. What a blast.

[andyli]

A new 4K restoration (by Kadokawa Corporation) of the complete 137-minute version of Masayuki Suo's SHALL WE DANCE? will be screened at Film Forum Friday, May 30 – Thursday, June 12.

Didn't know that director Masayuki Suô and actress Tamiyo Kusakari both attended the FF screening and gave a talk. Should make for good extras hearing them discussing this film. Fingers crossed Film Movement doesn't cheap out on a well-produced UHD.

[FrauBlucher]

Film Forum will screen a Kurosawa mini retrospective, all but one will be 4k ...btw... the schedule has not been uploaded to their site yet

July thru September calendar has dropped

[Drucker]

Actually really love this programming! Especially interested in checking out the Sellers and Screen Deco retros, and it's about time I revisit Bonnie and Clyde as well.