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Repertory

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    35mm Projection is at Risk. Does That Matter?

    35mm Projection is at Risk. Does That Matter?

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    "Blimp" Happens

    Michael Powell and Emeric Pressburger's masterpiece The Life and Death of Colonel Blimp is playing this week at New York's Museum of Modern Art in a new print from the Film Foundation. If you are here, you probably don't need to be told that it's always preferable to see a P&P film on the big screen...

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    Nick Pinkerton on Rohmer's "Le Rayon vert"

    Always the cine-moralist, Eric Rohmer began his career in an optimistic Christian crusade against a 1940s French cinema that was as knee-jerk Left Bank existentialist as most contemporary art-house fare is lazily Godless. A profoundly religious artist and self-described “classicist,” he was probably the most fogeyish member of a Nouvelle Vague with an oft-ignored conservative strain. He expressed an affinity for the tenets of austere Jansenist Catholicism, heavy on personal grace and predestination, shared by his Cahiers contemporary André Bazin and the journal’s much-favored Bresson. Rohmer’s spiritual polemics, elucidated in his early writi...

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    New Day Films, "Growing Up Female," and MOMA

    All sweaters and shirts half-off for a limited time only!

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    "Let There Be Light" at IFC Center

    John Huston's searing 1946 documentary Let There Be Light plays this weekend at New York's IFC Center. It's a rare showing of an important, singular work in the great filmmaker's career. On the occasion of the screenings (Friday, Saturday, and Sunday), we've unearthed a real treasure from the Revers...

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    Go with Claude: Jeff Reichert on Claude Lanzmann's "Shoah"

    The worst response to a film as enormous as Shoah may be to box it in with mere words. Though citing the faults and fissures of language is perhaps a critical crutch, here the slipperiness of signification is operative within the very makeup of the work itself; apparently even the title Shoah was chosen by Claude Lanzmann to deliberately obfuscate and confuse his audiences—an unknowable word for an unknowable subject. His film investigates the defining event of the 20th century, yet his approach is more than oblique. Over the course of his film’s nine-plus hours he represents the Holocaust without representing it at all, refusing to supply an...

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    Glasses Full of Rye: Lionel Rogosin's "On the Bowery"

    Under the steelwork silhouette of the Third Avenue El, bums splay out across doorjambs in mid-afternoon; anyone who has scraped together enough money already has their binge underway. It’s a few stops downtown from P.J. Clarke’s and Don Birnam’s apartment in The Lost Weekend, but formally it’s another universe—shots of winos being scooped into police vans seem cut-in direct from life, seemingly surreptitiously filmed; people, buildings, everything in sight shows marks that could only come of long, terrible attrition. There are no open-armed, redemptive Jane Wymans here, only men, specimens in advanced states of decay, in-and-out-of-Bellevue t...

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    Reverse Shotters Around Town

    We really should be better drawing our readers' attention to all the great stuff our longtime Reverse Shotters have been doing around town, especially at the Village Voice, which has become something of a Reverse Shot Part Deux as of late.

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    The Yin of Yang: "A Brighter Summer Day"

    Those of us who get easily swept up in the tender, boundless empathy of Yi Yi may find it difficult to remember (or, due to the general lack of availability of Edward Yang’s other films, may not even realize) that much of this great Taiwanese director’s career sprang from his bitter sense of irony. While Yang’s final masterpiece suggested an artist beginning to make peace with an unjust world, his other major works were made in a spirit of indignant protest against a culture he felt was actively suppressing its own history and cheating its youth. Now that the World Cinema Foundation’s newly restored print of the 1991 epic A Brighter Summer D...

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    Flaherty NYC

    FLAHERTY NYC

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