OCTOBER IN THEATER
ORLANDO NEW 4k RESTORATION + LOOK AT ME
opens OCTOBER 7
Potter’s utterly sui generis gender-bender period piece features Tilda Swinton as an immortal nobleman who inherits his parents’ house back in 1600 from a dying Queen Elizabeth I on the condition that he “not fade,” weathers a catastrophic affair with a Russian princess and then, while serving as ambassador to Constantinople and approaching his 200th birthday, is shocked one day to awake and find himself a woman, unable to lay hold on her property, which she struggles to do through passing centuries, right up to the then-present-day 1990s. Inspired by Virginia Woolf’s 1928 novel but, rather than following it to the letter, boldly taking liberties with the text, a cinematic equivalent of Woolf’s own searching literary inventions. A new restoration, screening with Potter’s 2022 short film Look at Me, making its US theatrical debut.
Yes: the films of sally potter
OPENS october 7
Few filmmakers can do it all in the way that pioneering British filmmaker Sally Potter can, having at various times acted as director, writer, performer, composer, and choreographer on her movies. With the release of Potter’s new short film, Look at Me, starring Javier Bardem and Chris Rock, and the appearance of a new restoration of perhaps her best-known film, 1992’s time-traveling, gender-bending Orlando, based on the novel by Virginia Woolf, we’re revisiting some of the highlights of a remarkable, eclectic career that encompasses experimental shorts, documentaries, and sumptuous period pieces, united by their innovations with form, sensitive performances, provocative subject matters, and conceptual rigor. An opportunity to encounter the artist Artforum’s Amy Taubin praised for her “brilliant eye for framing and camera placement, her ear for music, and the extremely moving ongoing conflict between her romantic sensibility and her analytic mind.”
Rage - The Party - Yes - The Gold Diggers
Jerk - Hors d’oeuvres - Thriller - London Story - Play - Combines
The Tango Lesson - Ginger & Rosa - I Am An Ox, I Am A Horse, I Am A Man, I Am A Woman
joanna hogg in person
sunday, october 9
sepa: NUESTRO SEÑOR DE LOS MILAGROS
OPENS october 14
Best known as a producer, Swiss-born Saxer spent much of his career aiding and abetting Werner Herzog in his pursuit of the impossible. It was on the shoot of Aguirre, the Wrath of God (1972) that Saxer first heard tell of an open-air penal colony in the remote Peruvian jungle on the Sepa River, a place called “Nuestro Señor de los Milagros,” which would become the subject of his lone film as director. Recently rediscovered after long obscurity, Saxer’s empathetic portrait of inmate life, featuring narration by Peruvian Nobel laureate Mario Vargas Llosa, emerges as one of the great directorial one-offs, exploring the fascinating contradictions of this experimental prison that was inspired by ideas of progressive reform—a place Herzog described as a “bizarre island of freedom where tragedy and absurdity create a closed-in world seemingly invented from feverish dreams.”
WHOLE LOTTA HERZOG
OPENS OCTOBER 14
A leading figure of the New German Cinema who stands far outside of any “movement”; a master in both documentary and fiction; a narrator with a unique voice and far-out perspective… Werner Herzog is among the most iconic living filmmakers, a mad maestro who has never fully disappeared from the public eye since first appearing on the scene. The “consummate poet of doom,” per The New York Times, the Munich-born director/producer/writer of over 60 features made his first short work at age 19 and is still fearlessly forging ahead at 79, with a drive as intense as that of the many obsessive characters he’s brought to the screen. In conjunction with Metrograph’s run of the stunning Sepa: Our Lord of Miracles, the lone film directed by Herzog’s longtime producer Walter Saxer, we present some of Herzog’s most celebrated and awe-inspiring films. “He is a pure artist and maniac and there will never be another one like Herzog.”—Harmony Korine
Fitzcarraldo - The Enigma of Kasper Hauser
Nosferatu the Vampyre - Aguirre, the Wrath of God
Gagosian: Adriana Varejão Selects
opens october 21
“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. I am attracted to the science fiction genre because it is possible to abandon linear temporality and the political and scientific limitations of the present. The baroque aesthetic, with which I so strongly identify, connects with the idea of artificiality, of excess for pure pleasure, and the creation of other possible realities. These aspects are present in my own art in the representations of flesh, in the historical parodies, in the saunas that reveal themselves to be imagined environments rather than real. My program also includes some more recent remarkable Brazilian productions that resonate with my own thinking.”—Adriana Varejão
Bacurau - The Baby of Mâcon - Divine Love
Holy Mountain - The Fly - Caravaggio
In The Realm of the Senses - The State of Things
THE COMPUTER ACCENT
Opens October 21
While Artificial Intelligence has made in-roads in almost every area of human labor, the field of artistic creation was once regarded as relatively safe from automation—for what is art without the human soul? Roch-Decter and Pardo’s The Computer Accent offers a partial answer to that question, a look at an age of AI artistry that may be coming sooner than you think, documenting the fascinating, sometimes frustrating “collaboration” between the post-pop group YACHT and a “scotch-taped together” assortment of machine learning tools that has studied their back catalog, so to algorithmically generate music, lyrics, and the title for the band’s seventh album, “Chain Tripping,” to then be recorded in the studio by the flesh-and-blood trio. Heartening or horrifying depending on your viewpoint, The Computer Accent is a window into the future.
A Memory release.
DANS LE LABYRINTHE
OPENS OCTOBER 28
“Dans Le Labyrinthe,” which derives its title from a novel by master of narrative games Alain Robbe-Grillet, is a program exploring the myriad ways filmmakers have used the formal properties of their medium to construct cinematic variants of the labyrinth, manifolds of time and space which lure the spectator along their winding corridors and branching paths. Each work in the series, curated by Sam Ishii-Gonzales and Jaime Levinas, offers its own distinct approach, and not all of them offer a clear exit. Their intricate twists and turns are the source of both their pleasure and their danger. The deeper you go, the more is revealed—and the further you may be from ever finding your way home. With films by David Lynch, Anocha Suwichakornpong, Bi Gan, Alain Resnais, and other expert maze-builders, getting lost has never looked so alluring as it does here.
Aleph - By the Time It Gets Dark - Inland Empire
Invasión - The Lady from Shanghai - Last Year at Marienbad
Long Day’s Journey into Night
WELCOME TO METROGRAPH: A TO Z
RUNS THROUGHOUT OCTOBER
When Metrograph opened its doors in 2016, we did so with Welcome to Metrograph: A to Z, a way to introduce moviegoers to our particular take on cinema history. Now that our booklet is back, we have relaunched A to Z. Every four months, one of our programmers will create their own idiosyncratic alphabet: one film per letter, neither canon nor anti-canon, but rather a selection of favorite films that serve as life-changing revelations or enduring personal passions, and ultimately films of which Metrograph exists to spread the gospel. Continuing this fall, Programmer Lydia Ogwang takes us from N-Z, including stops at Med Hondo’s Soleil Ô, Henri-Georges Clouzot’s Quai des orfèvres, and Rainer Werner Fassbinder’s Veronika Voss.
OCTOBER TITLES Include:
Orpheus - Pepi, Luci, Bom and Other Girls Like Mom
Reason Over Passion - Veronika Voss - Woman in the Dunes - Xiao Wu