Events: Film
Selected by J. Hoberman
December 6, 2012 – February 10, 2013
Art Theater Guild and Japanese Underground Cinema, 1960-1986
Museum of Modern Art, New York
Every year or so there’s a retrospective so comprehensive and rich with little-seen work as to jeopardize one’s day job.
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Selected by Yasmine El Rashidi
Ongoing
‘Argo’
Angelika Film Center, New York
Not quite flattering to the Iranian regime, Argo has received much attention in the Middle East.
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Selected by J. Hoberman
February 8, 2013 – February 17, 2013
A Close-Up of Abbas Kiarostami
Film Society of Lincoln Center, New York
A comprehensive, but not complete, selection of Kiarostami’s narratives, movies for children, documentaries, and digital experiments.
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Selected by J. Hoberman
February 14, 2013 – February 17, 2013
‘Modern Romance’ & ‘We Won’t Grow Old Together’
Anthology Film Archives, New York
Calling this show the “Valentine’s Day Massacre,” Anthology’s gutsy programmers have double-billed the two great anti-romances of the 1970s.
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Selected by J. Hoberman
February 20, 2013 – February 21, 2013
‘Call Girl’
Film Society of Lincoln Center, New York
Having its US premiere courtesy of Film Comment magazine, Mikael Marcimain’s leisurely political thriller is based on the scandal known in Sweden as Bordellhärvan that nearly brought down the socialist government in the 1970s.
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Selected by J. Hoberman
February 23, 2013, 7 pm
‘Holy Motors,’ introduced by Leos Carax
Harvard Film Archive, Cambridge
To judge from its critical reception, the first Carax feature in a dozen years is everything that admirers of this raging visionary could wish for. He’ll be on hand to explicate, or not.
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Selected by J. Hoberman
Ongoing
‘No’
Angelika Film Center, New York
Chilean director Pablo Larrain caps a trilogy of movies concerning the Pinochet dictatorship—it’s a parable with an edge.
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Selected by J. Hoberman
January 19, 2013 – April 7, 2013
Werner Schroeter: Magnificent Obsessions
Berkeley Art Museum and Pacific Film Archive, Berkeley
Schroeter's most visionary movies—the willfully crude, aggressively campy low-budget opera-travesties he made in the late 1960s and early 1970s—were a significant influence on both Fassbinder and Syberberg.
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