THE RETURN OF WILLIAM CASTLE
AUGUST 27-SEPTEMBER 6
AT THE / FILM FORUM

“Without a doubt, the greatest showman of our time. King
of the Gimmicks. William Castle was the best."

FUEGO / THE FILMS OF ISABEL "COCA" SARLI
AT / FILM SOCIETY OF LINCOLN CENTER
THROUGH / AUGUST 6-8 2010

“Isabel Sarli squeezes more sexual frisson into the space between breathing in and breathing out than most of us could spread over a lifetime of ordinary love-making,” wrote The New York Times of the Argentine actress and celebrated sex symbol. This extraordinary selection presents her sultry, funny, and censored films from the 60s and 70s — a wham-bam sampling of 100% Coca that’s nearly impossible to see anywhere else.

Encapsulating all the dark glamour, divine decadence and hedonistic joy
of the roaring Twenties, Gareth Pugh's A/W 2010 collection is a
stylised, silver and black Art Deco fantasy projected at
breakneck speed into the twenty-first century.

JOIE DE VIVRE
PERFORMANCE / RAQUEL ZIMMERMANN
DIRECTION / RUTH HOGBEN

Those bad enough to walk on the wild side should have already
 put in the request.. but will she accept? We couldn't bare to see another
reappropriation a la sweet dreams.And Raquel Zimmermann?
Wow. She's the one to beat right now.

 

THE FILM FORUM DEBUTS
HI DEF / RESTORED METROPOLIS

After the jump– a relatively short list of films on our radar.
Keep in mind– there's something for everyone.

NOW SCREENING
RAINER WERNER FASSBINDER'S
WORLD ON A WIRE
AT MOMA / APRIL 14-19 2010


“A very beautiful story that depicts a world where one is able to make
projections of people using a computer. And, of course, this leads to the
uncertainty of whether someone himself is a projection, since in the virtual world
projections resemble reality. Perhaps another, larger world has made us as
a virtual one? In this sense it deals with the old philosophical model,
which here takes on a certain horror.”

A triptych of female desire with GIALLO written all over it, Hélène Cattet and Bruno Forzani’s French language film, Amer (2009), pans in on three different interludes in Ana’s sexual evolution-- childhood (Cassandra Forêt), adolescence (Charlotte Eugène Guibeaud), and womanhood (Marie Bos).  In the first act of this kaleidoscopic, erotic vision, we see her trying to negotiate a childhood chock-full of sex and violence (complete with a particularly sweaty rendering of the primal scene) that she can’t yet comprehend. In the following two acts, we witness her slowly grasping, and eventually paying the price for, her own carnality (culminating in a striking scene of bathtub onanism with a comb).

In this super-sensory space, the sound design and camerawork are expert and there are eyes everywhere—peeping through keyholes, blinking, rolling, and even brushing with fates that would make DALI and BUÑUEL cringe. This generous helping of visual organs reminds us of the eye of the camera, but also of our own widened peepers devouring its product, rendering us complicit in all this voyeurism.