NEW ARRIVALS TO METROGRAPH AT HOME
DEREK JARMAN X9
Having originally trained as a painter, Derek Jarman entered the film industry as production designer on Ken Russell’s The Devils, and the mysterious relationship between painting and cinema was among the many questions he would explore in his questing work as a filmmaker, which abounded in art historical references, and which ended with his Blue, a meditation of color as character released shortly before his death from AIDS-related complications. Alternately a prophet of doom and a poet of pleasure, Jarman made films that put him in conversation with immortal figures such as Shakespeare, Caravaggio, and Wittgenstein. These were conversations among equals.
Blue, Caravaggio, Sebastiane, The Tempest, The Angelic Conversation,
The Last of England, Glitterbug, Wittgenstein, War Reqieum
JOANNA HOGG X3
Though she started making experimental films with a Super 8 camera borrowed from mentor Derek Jarman when she was barely 20, Joanna Hogg was 47 years old when she directed her first feature, 2007’s Unrelated. Her late start may account somewhat for the total assurance of that film and those that follow—the manner in which she immediately establishes her distinctively distanced, observational style; her enigmatic balance of tone; and her favorite subjects for study. In her first three features, available here, one glimpses clashes between sexes, generations, and classes beneath the apparently placid surface of every image—a perfectly coherent trilogy in which each film is unique.
Exhibition, Unrelated, Archipelago
Adriana Varejão Selects: PRESENTED WITH GAGOSIAN
“In the late 1980s, after I quit engineering at university to study art, the cineclub Estação Botafogo in Rio de Janeiro was my classroom and film became my artistic universe. I immersed myself in the films of the period from many different countries, including my own.
For the Metrograph program, I am taking a poetic approach, bringing together some of the films that have opened doors in my own art. My selection might seem eclectic but there are discernible themes and genres—eroticism, excess, science-fiction fatalism—that connect to my own work.”—Adriana Varejão
at home series includes:
miguel gomes's arabian nights
Responding to the disastrous consequences of EU-imposed austerity measures on his native Portugal—Gomes embarked on a project whose very scope was an anti-austerity statement: a trilogy of films totaling six hours, each subdivided into “chapters” ranging in subject from fantastic fiction to documentary verité, inspired by the tapestry-like structure of One Thousand and One Nights. Touching, often terribly funny, and unified by the sumptuous images of regular Apichatpong DP Sayombhu Mukdeeprom, Gomes’s film is wracked with doubt at cinema’s ability to make a difference in the world, but glorious proof of its ability to show the world as it is.
Arabian Nights Volume 1: The Restless One, Arabian Nights Volume 2: The Desolate One,
Arabian Nights Volume 3: The Enchanted One
METROGRAPH SELECTS: BOX OFFICE TEAM
Select films, chosen specially by Metrograph staff. For the latest iteration of our recurring series, members of the Metrograph box office staff—Harry Kroessler, Clare Maceda, Justice Sanders, Cece Vargas, and Kristine Veras—pick personal favorites, In Theater and on Metrograph At Home. This month's At Home selections include Eliza Hittman’s It Felt Like Love, and Jerzy Stuhr's The Big Animal.
october arrivals include:
The Big Animal, It Felt Like Love, Happy Times
Before the strict enforcement of the Motion Picture Production Code began in earnest in mid-1934, Hollywood indulged in a last spree of salacious and risqué moviemaking—the so-called Pre-Code period of the late 1920s and early ’30s. With Halloween season approaching on the horizon, we’ve brought together a selection of lean, little-seen, often leering horror/thrillers belonging to this prelapsarian period, including nuggets from the US, the UK, and the ratty outskirts of Poverty Row. Fast, cheap, and unpretentious, this is as far as you can get from snooty “elevated horror.”
A Cottage on Dartmoor, The Death Kiss, Maniac
LONG DAY'S JOURNEY INTO NIGHT
Bi Gan, the Chinese poet and filmmaker whose commanding debut Kaili Blues opened at Metrograph in 2016, returned with a second feature that is every bit as original as his first, while far more expansive in scope. Beginning as a kind of atmospheric, neon-drenched film noir fever dream, Long Day’s Journey into Night follows Huang Jue as he returns to his hometown of Kaili for his father’s funeral, then sets off on the trail of an old flame (Tang Wei). After traveling down a winding road into the past alongside our protagonist, the viewer is invited to put on 3D glasses and enter the movie’s startling hour-long centerpiece shot, a technically astounding feat that redefines the bounds of narrative cinema. With Sylvia Chang, subject of a 2018 Metrograph retrospective, in a delicious cameo.
Screening with Aleph as part of Dans Le Labyrinthe
OCTOBER 29 - november 11
Belgrade-born Radivojević’s peripatetic sophomore feature makes stops in Argentina, Greenland, Kathmandu, South Africa, and six other far-flung ports of call while passing the narrative baton between different characters, changing visual styles just about as often as it changes location. Inspired by the writings of Jorge Luis Borges, specifically his short story “The Aleph,” Radivojević doesn’t adapt Borges but rather finds a cinematic analog to his image of the “splintered labyrinth” in a film of dizzyingly diverse scenes which, over time, reveal commonalities lying beneath their surfaces. A daring experiment, cerebral and sensual, seeking concrete images for elusive ideas.
Screening with Long Day's Journey Into Night as part of Dans Le Labyrinthe
WOMEN’S FILM PRESERVATION FUND OF NYWIFT PRESENTS:
HOME MOVIE NIGHT
OCTOBER 15 - october 31
“Home Movie Night illuminates the creative and entrepreneurial spirit of women in cinema, showcasing a diverse range of home movies and amateur narratives, which have been preserved by the Women’s Film Preservation Fund of New York Women In Film & Television and edited together into one unique reel. The program shows women capturing the times in which they lived with humor and inventiveness. Highlights include the orphan recording at a ’50s lesbian bar; images from regional silent-era filmmakers such as Angela Murray Gibson and Margaret Cram Showalter; the private world of The Washington Post’s Katharine Meyer Graham’s childhood, Miami artist Conni Gordon’s 1960s painting parties, and Chicago’s Amateur Cinema League humorist and filmmaker Margaret Conneely.”—Series curators, Women’s Film Preservation Fund Committee Co-Chairs Kirsten Larvick and Erika Yeomans
Features clips from the following home movies and amateur recordings, preserved by the Women’s Film Preservation Fund of NYWIFT:
Belfast Movie Queen (1939) – Margaret Cram Showalter
Elwins to Calcutta (1934) – Adelaide Pearson
Florida Vacation (1958) – Sklar Family
French Quarter, New Orleans (2000-2005) – Helen Hill
Eugene & Agnes Meyer Home Movies (1920s) – Agnes Meyer, Eugene Meyer
Mona’s Candlelight (c.1950) – Unknown
Artist Conni Gordon (1961) – Conni Gordon
Arrested For Life (1923) – Angela Murray Gibson
Mister E (1959) – Margaret Conneely
THE FILMS OF SYLVIA KRISTEL
Born in the Netherlands in 1952, Sylvia Maria Kristel will forever be linked to the character she made a household name: Emmanuelle, the sexually adventurous heroine of the eponymous 1974 softcore classic. Kristel would go on to play Emmanuelle in six more features, but there’s far more to Kristel, as this series, corresponding to the publication of Cult Epics’ new volume Sylvia Kristel: From Emmanuelle to Chabrol, decisively proves. An uncompromising artist, Kristel was sought after by top international directors including Claude Chabrol, Alain Robbe-Grillet, and Curtis Harrington. She’s not just Emmanuelle and she’s not just a sex symbol: she’s the one and only Sylvia Kristel.
AT HOME series includes:
Mysteries, Playing With Fire