Tag Archives: Film Comment

AGNÈS VARDA IN CALIFORNIA AND TORONTO

Agnès Varda’s film LIONS LOVE (… AND LIES)—shot in 1968 in the days preceding and following the shootings of Andy Warhol (who survived) and Bobby Kennedy (who didn’t)—is a story of Eden-under-siege among a trio of Hollywood Hills freedom-seekers, remarkably played by Warhol superstar Viva, and James Rado and Gerome Ragni (the lyricists of Hair).

“[Varda’s] film is more than a time capsule of events and moods—it’s a living aesthetic model for revolutionary times.” — Richard Brody, The New Yorker*

LIONS LOVE (… AND LIES) is part of the Criterion Collection box AGNÈS VARDA IN CALIFORNIA (which also includes BLACK PANTHERS and DOCUMENTEUR), available now.

See Sasha Archibald, “End of the End of the End: Agnès Varda in Los Angeles”:

eastofborneo.org/articles/end-of-the-end-of-the-end-agnes-varda-in-los-angeles/

criterion.com/boxsets/1124-eclipse-series-43-agnes-varda-in-california

* newyorker.com/goings-on-about-town/movies/lions-love-and-lies

This week in Toronto, Varda and her new collaborator, the French street artist JR, present their film VISAGES VILLAGES/FACES PLACES, wherein they roam the countryside in JR’s truck, encountering farmers, cheese makers, coal miners—the faces of whom JR memorializes in huge monochromatic portraits. Their journey eventually lands them at the door of Jean-Luc Godard.

VISAGES VILLAGES/FACES PLACES, Monday, September 11; Wednesday, September 13; Friday, September 15; and Sunday, September 17.

TORONTO INTERNATIONAL FILM FESTIVAL.

tiff.net/tiff/faces-places/

Film Comment interview with Varda is the cover story in the current issue.

AGNÈS VARDA—THE FILM COMMENT INTERVIEW, September/October 2017 issue.

www.filmcomment.com/

From top:

Agnès Varda and JR. Visages Villages/Faces Places (2016). Image credit: Le Pacte.

Gerome Ragni, Viva, and James Rado in Lions Loves… (and Lies), (1969). Image credit: Criterion.

Film Comment, September/October 2017 issue. Image credit: Film Comment.

The first issue of Interview, with Varda (center) and the cast of Lions Loves… (and Lies).

Agnès Varda et JR sur le tournage de "Visages, villages".

visages-villages-documentaire-d-agnes-varda-et-jr_5895143

lions-love-and-lies-still

21271174_10155784768414783_1286929555840782492_n

a56beb07bbf59cc8713e25752f340ea6

TISA BRYANT AND ERNEST HARDY — CONVERSATION AND SCREENING

Join writers Tisa Bryant (author of Unexplained Presence, and a forthcoming book from Semiotext(e) press) and Ernest Hardy (film writer for the LA Weekly and the author of Blood Beats Vol. 2: The Bootleg Joints) this week at the Hammer as they “sift through film, television, music, social media, and news to explore black representations of depression and distress, remedies and healing, and the resilience of joy in black life and culture.”*

Next week Bryant and Hardy will return to the museum for a Q & A following a screening of Dee Rees’ 2011 feature PARIAH.

TROUBLE IN MIND…BUT I WON’T BE BLUE ALWAYS—TISA BRYANT and ERNEST HARDY IN CONVERSATION, Thursday, August 24, at 7:30 pm.

PARIAH, Tuesday, August 29, at 7:30 pm.

HAMMER MUSEUM, 10899 Wilshire Boulevard, Westwood, Los Angeles.

* hammer.ucla.edu/programs-events/2017/08/trouble-in-mind-but-i-wont-be-blue-always/

hammer.ucla.edu/programs-events/2017/08/pariah/

See Ina Diane Archer’s PARIAH review from the November/December 2011 issue of Film Comment:

filmcomment.com/article/pariah-review/

Adepero Oduye in Pariah. Image credit: Focus Features.

Pariah_1

 

 

 

LA MORT DE LOUIS XIV

Jean-Pierre Léaud (fifty-eight years after The 400 Blows):

“When Albert Serra offered me the role of Louis XIV, I said to myself that this film would mean a great deal to me, in my life and in my filmography. I said to myself that I must succeed, with all the energy that’s in me. So I was in Louis XIV’s bed, trapped within an apparatus of three cameras that filmed me continuously from eight in the morning until eight in the evening, every single day. Even though the apparatus was hard to put up with, I hung on until the end. Any other actor would have said, ‘This is too much. I can’t make it.’ Well, I decided to make it.

“Through this apparatus, I stepped into the shoes of an old man in his death throes, and you cannot avoid personal repercussions if you play someone like that. And that’s when I began to feel the proximity of my own death and realized that Serra was recording my own death through Louis XIV’s. At my age, you cannot banish death from your life. I was reminded of Jean Cocteau’s quote: ‘Cinema is death at work.’ ”*

LA MORT DE LOUIS XIV/THE DEATH OF LOUIS XIV (2016), is directed by Albert Serra, and written by Serra and Thierry Lounas.

The film screens daily at 4:45 pm only, through June 15, at the Laemmle Music Hall, 9036 Wilshire Boulevard, Beverly Hills.

*Yonca Talu, “The Long Goodbye: An interview with Jean-Pierre Léaud,” Film Comment, March/April 2017.

(Top) Jean-Pierre Léaud in The 400 Blows, directed by François Truffaut. Image credit: Janus Films.

(Bottom) Jean-Pierre Léaud in the title role of La Mort de Louis XIV. Image credit: Capricci Films.

Jean-Pierre Léaud in The 400 Blows, directed by François Truffaut. Image credit: Janus Films.

Jean-Pierre Léaud in nthe title role of La Mort de Louis XIV. Image credit: Capricci Films

 

MARBLE ASS

“Many Yugoslavian films have previously found an answer in fate—the people’s unrestrained nature, or the arrogance of its leaders. [Filmmaker and educator] Želimir Žilnik takes a different position: he thinks that the failures are a logical consequence of decades of willingness to support one’s own leaders, without ever looking across the borders to see how others live.” — Rotterdam International Film Festival

In Žilnik’s MARBLE ASS (1995), a transvestite couple in Belgrade—actors of pacifist intervention—protect and save underage girls, fragile mothers, and helpless old women by turning trick after trick with their city’s rapists, loners, gamblers, and horny young studs—all soldiers returned from the Yugoslav Wars.

MARBLE ASS, which won the Teddy for best feature at the 1995 Berlinale, stars the late Vjeran Miladinović playing a version of herself.

MARBLE ASS, Sunday, May 28, at 5 pm.

ANTHOLOGY FILM ARCHIVES, 32 Second Avenue, at 2nd Street, New York City.

 

anthologyfilmarchives.org/film_screenings/calendar#day-26

See Tina Poglajen’s recent Film Comment interview with Žilnik:

filmcomment.com/blog/berlin-interview-zelimir-zilnik/

Marble Ass

Vjeran Miladinović (right) in Marble Ass (1995)

Vjeran Miladinović (left) in Marble Ass (1995), directed by Želimir Žilnik. Image credit: Rare Film

Vjeran Miladinović (left) in Marble Ass (1995).
Image credit: Rare Film

ARTHUR JAFA IN LOS ANGELES AND LONDON

“There’s just a certain genius to accompaniment, how you actually support other people being expressive, and that’s the jazz thing again. I keep coming back to that: listening and responding, but responding in a way where you still allow the person a certain kind of platform. To a certain degree it goes into this whole space that I circle back on so often, this “usher” work. How do you function as a platform for other people’s expression or articulation, which I think everybody’s sort of doing all the time in jazz. They cede the floor to one another. So I always definitely saw DREAMS ARE COLDER THAN DEATH as usher work. It was always about creating a platform for black folks—as I say, uncommon black folks—and for specialists to voice their feelings about where they were but ostensibly where we are, collectively.” — Arthur Jafa*

As part of the MOCA exhibition ARTHUR JAFA: LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, curated by Helen Molesworth, the museum and Los Angeles Film Forum at MOCA present a screening of Jafa’s 2013 documentary DREAMS ARE COLDER THAN DEATH.  The film will be introduced by Saidiya Hartman, Professor of English and Comparative Literature at Columbia University, who will participate in a post-screening Q & A.

 

ARTHUR JAFA: DREAMS ARE COLDER THAN DEATH, Thursday, May 11, at 7 pm.

THE GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, Little Tokyo, Los Angeles.

moca.org/program/los-angeles-filmforum-at-moca-presents-arthur-jafas-dreams-are-colder-than-death

 

ARTHUR JAFA: LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, through June 12.

THE GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, Little Tokyo, Los Angeles.

moca.org/exhibition/arthur-jafa-love-is-the-message-the-message-is-death

 

Jafa’s first solo show in London will open next month at the Serpentine Sackler Gallery. ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS, curated by Amira Gad, “will take the form of a site-specific installation at the Serpentine Sackler Gallery, while also expanding beyond the gallery to the peripheries of the city with a series of performances, screenings, and events in venues or areas of London that function for Jafa as ‘black sites.’ ”*

 

ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS, June 8 through September 10

SERPENTINE SACKLER GALLERY, West Carriage Drive, London

*serpentinegalleries.org/exhibitions-events/arthur-jafa-series-utterly-improbable-yet-extraordinary-renditions

 

*Cassie da Costa, “Interview: Arthur Jafa,” Film Comment, May 8, 2017:

filmcomment.com/blog/interview-arthur-jafa/

Also see: frieze.com/article/arthur-jafa?language=en

Image credit: Arthur Jafa, Love is the Message, the Message is Death

Image credit: Arthur Jafa, Dreams Are Colder Than Death