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Cool, thanks! I guess I can do some cross-referencing research to see if there are any films playing that don't have subs translated even on backchannels, as those might be my priorities (i.e. La Poupée, until very recently) but I appreciate the notes on what to skip, and I've seen enough where that keeps things relatively limited. Was just wondering if there were any holy grails in there- as, again, La Poupée would have been (mistakenly so, at least I didn't like it) before subs appeared elsewhere

The only one I’m interested in that’s not circulating is the Gegauff directed film

Oh wow, Chabrol's writer specializing in "cruelty"? That sounds great- unfortunately I'll be away for it when it's here, but maybe I'll find a way

Japan Society has announced some 35mm screenings of Ozu's Good Morning, Kurosawa's Kagemusha, and Ishiro Honda's Mothra.

(I also see I missed a rare 35mm screening of Hana-bi. ARGH.)

hearthesilence wrote:Japan Society has announced some 35mm screenings of Ozu's Good Morning, Kurosawa's Kagemusha, and Ishiro Honda's Mothra.

(I also see I missed a rare 35mm screening of Hana-bi. ARGH.)

I got to see a 35mm print of Seven Samurai once.

FrauBlucher wrote: Thu May 12, 2022 11:39 pm Film Forum summer schedule.... Montgomery Clift a mini retrospective, 1962...1963...1964 (36 films) and Mifune redux

I can still remember the Clift retrospective at BAM some years ago - before they darkened the theaters, they'd play stuff like the Clash's "The Right Profile" or R.E.M.'s "Monty Got a Raw Deal."

Actually that 1962...1963...1964 program also reminds me of a similar program from BAM around the same time, but it was all about 1962. Wonder if they hired the same programmer?

FrauBlucher wrote: Thu May 12, 2022 11:39 pm 1962...1963...1964

They're copying us!

Coming soon to MoMA - Beyond Ozu: Hidden Gems of Shochiku Studios...

[quote]This exhibition goes beyond these perennial favorites to deepen our appreciation of the history of Japanese cinema, allowing us to revel in newfound discoveries like Hiroshi Shimizu’s Eternal Heart (1929), Kôzaburô Yoshimura’s Temptation (1948), Tai Kato’s The Ondekoza (1981), and Kôhei Oguri’s The Sting of Death (1990). The exhibition opens on June 10 with the North American premiere 4K restoration of Masahiro Shinoda’s Demon Pond (1979).

[...]

While Yasujirô Ozu mastered this style in the intimate family dramas he made for Shochiku, from his first true solo effort in 1928, Dreams of Youth, to his swan song in 1962, An Autumn Afternoon, this exhibition draws attention to two of Ozu’s most devout successors, Minoru Shibuya (Doctor’s Day Off, 1952) and Yoji Yamada (Where Spring Comes Late, 1970, and My Sons, 1990). It also celebrates the Chaplinesque graces of Kiyohiko Ushihara’s Why Do You Cry, Young People? (1930) and Heinosuke Gosho’s Woman in the Mist (1936)—Gosho is also represented with Yellow Crow (1957), Northern Elegy (1957), and Hunting Rifle (1961)—and the nakanai realism (“realism without tears”) of Tadashi Imai’s Inlet of Muddy Waters (1953) and Night Drum (1958).

[...]

Radical from the start, Shochiku continued to produce daringly unconventional films like Eitarô Morikawa’s Tragedy of Bushido (1960), Kiju Yoshida’s 18 Roughs (1963), Masahiro Shinoda’s Demon Love (1979), and Shinji Sōmai’s The Catch (1990), all ripe for rediscovery.

so is it Demon Pond or Demon Love?

They're also a year off on the release date of My Sons (it's a 1991 film) and seven on the year of release for The Catch (should be 1983). Given that Sōmai's 1990 Tokyo Heaven was also a Shochiku production, that makes me wonder if they got the name of the film wrong, but I think The Catch is better-known and a more likely inclusion.

The Fanciful Norwegian wrote: Fri May 20, 2022 6:48 pm They're also a year off on the release date of My Sons (it's a 1991 film) and seven on the year of release for The Catch (should be 1983). Given that Sōmai's 1990 Tokyo Heaven was also a Shochiku production, that makes me wonder if they got the name of the film wrong, but I think The Catch is better-known and a more likely inclusion.

I noticed that with The Catch as well. For a second, I even thought they had the filmmaker wrong and had perhaps programmed Nagisa Oshima’s work

I truly hope this series tours. The Japan Foundation’s prints from the mammoth Seijun Suzuki retrospective looked incredible, particularly A Tale of Sorrow and Sadness and his 1980’s works

The schedule for the series is now available.

Brooke Adams is actually appearing for a Q&A tomorrow (Tuesday, June 7) at Film Forum right after the 6:10 p.m. screening of Michael Roemer's Vengeance Is Mine. (The film has been playing all week.) FWIW, it is also a brand-new 35mm print.

hearthesilence wrote: Mon Jun 06, 2022 1:33 pm Brooke Adams is actually appearing for a Q&A tomorrow (Tuesday, June 7) at Film Forum right after the 6:10 p.m. screening of Michael Roemer's Vengeance Is Mine. (The film has been playing all week.) FWIW, it is also a brand-new 35mm print.

Oh, I’d love to see that. It’s up with Patti Rocks (which I heard played at BAM, you lucky New Yorkers) and Static as one of the great unsung classics of American indie films from the 80’s

beamish14 wrote: Mon Jun 06, 2022 6:57 pm

hearthesilence wrote: Mon Jun 06, 2022 1:33 pm Brooke Adams is actually appearing for a Q&A tomorrow (Tuesday, June 7) at Film Forum right after the 6:10 p.m. screening of Michael Roemer's Vengeance Is Mine. (The film has been playing all week.) FWIW, it is also a brand-new 35mm print.

Oh, I’d love to see that. It’s up with Patti Rocks (which I heard played at BAM, you lucky New Yorkers) and Static as one of the great unsung classics of American indie films from the 80’s

It probably has a good shot at reaching L.A. soon. Film Desk is distributing, and they seem to have a good track record reviving little-known films. I imagine Jacob Perlin's still running it - it's virtually a one-man operation, is it not?

EDIT: Actually their website has a page where you can submit a booking request, so all they need is an L.A. theater that's interested to fill one out.

Ribs wrote: Wed May 18, 2022 9:41 pm Coming soon to MoMA - Beyond Ozu: Hidden Gems of Shochiku Studios...

I'm so jealous -- and so sad that there is no chance for me to see this. Once upon a time, we used to get mini-versions at least of some of these retrospectives here in Boston -- but this doesn't seem to happen anymore.

Michael Kerpan wrote: Wed Jun 08, 2022 4:57 pm

Ribs wrote: Wed May 18, 2022 9:41 pm Coming soon to MoMA - Beyond Ozu: Hidden Gems of Shochiku Studios...

I'm so jealous -- and so sad that there is no chance for me to see this. Once upon a time, we used to get mini-versions at least of some of these retrospectives here in Boston -- but this doesn't seem to happen anymore.

The French New Wave rarity retrospective literally just came to Harvard Film Archive in Boston after MoMA, so it certainly is still happening. Have hope!

therewillbeblus wrote: Tue Apr 19, 2022 3:37 am I've seen more of these than I thought, including La poupée just the other day, which was a huge letdown though it's certainly rare and only recently got English subs on backchannels after what was presumably a long wait

This was indeed complete garbage. I appreciated the ramshackle nature of Baratier's Goha, but that was clearly a one and done fluke based on this monstrosity, and I saw no evidence Baratier had any idea what he was doing. This film is just incompetent and frequently incoherent. Just further proof of how hard something like Zazie was to pull off

Yeah, I honestly had no idea what was going on, and not in a good way, so I initially awarded the film an extra star in the event I was missing something cultural that the film was doing well. Now I feel validated in my experience

The thing about a movie where the plot entails an old political professor cloning a dictator's mistress, embodying her titular corpse and proceeding to lead a revolution in her body (in a major plot thread that somehow goes nowhere) intercut with a young radical being cast in the role of playing the evil dictator who oh ho wouldn't you know it likes being a fascist when he's in charge is that there was no way it could have been good, but it didn't have to be this bad.

The 1962-64 series at Film Forum is now up, and almost all of the film are listed as DCP which is disappointing. I keep missing Liberty Valence in 35mm and they are playing DCP.

Seems that the films playing in 35 are 8 1/2, Jules et Jim, Band of Outsiders, and America America.

I know I've been going to rep screenings for all of 10 years now, but I gotta say the last few months in New York have been somewhat disappointing. My friend seems to be seeing incredible films several times a week in LA and the great programs I used to see come thru NYC just haven't been around post-pandemic (a couple of exceptions notwithstanding). There also feels like a super lame uh..."meme-y" ness going on. Metrograph and Roxy Cinema seem more interested in programming for the lulz than what I had been used to experiencing. The other day I caught Seven Samurai and when Kamebi says "I guess there will be seven," a holler erupted from a young part of the crowd. Maybe I'm just getting old and cranky, but either I'm getting old or the scene is getting lame...or both! Curious if any other locals have noticed this.

Drucker wrote: Tue Jul 12, 2022 1:32 am The 1962-64 series at Film Forum is now up, and almost all of the film are listed as DCP which is disappointing. I keep missing Liberty Valence in 35mm and they are playing DCP.

Seems that the films playing in 35 are 8 1/2, Jules et Jim, Band of Outsiders, and America America.

I know I've been going to rep screenings for all of 10 years now, but I gotta say the last few months in New York have been somewhat disappointing. My friend seems to be seeing incredible films several times a week in LA and the great programs I used to see come thru NYC just haven't been around post-pandemic (a couple of exceptions notwithstanding). There also feels like a super lame uh..."meme-y" ness going on. Metrograph and Roxy Cinema seem more interested in programming for the lulz than what I had been used to experiencing. The other day I caught Seven Samurai and when Kamebi says "I guess there will be seven," a holler erupted from a young part of the crowd. Maybe I'm just getting old and cranky, but either I'm getting old or the scene is getting lame...or both! Curious if any other locals have noticed this.

Liberty Valence actually screened in 35mm in L.A. only a few weeks ago, so I wonder what Paramount is doing with that print. I wouldn’t miss America, America on celluloid. I saw it once with Haskell Wexler doing a Q & A afterwards, which was incredible.

The L.A. scene hasn’t been that mind-blowing lately. Some good things at the Hammer and a few titles here and there at the Cinematheque locations, but we haven’t had anything like that Shochiku retrospective