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Hiroshima Mon Amour JAMES BROWN JOHN WATERS ROBERTO MINERVINI NYFF OPENING ACTS THE 52ND NEW YORK FILM FESTIVAL MARGUERITE DURAS DECALOGUE SPECIAL PROGRAMS NEW RELEASES SEP/OCT 2014SM FILM HERE LIVES Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com FILM MATTERS HERE FILM CONNECTS HERE FILM INSPIRES HERE Image: Scott Pasfield Dear Friends, FILM STARTS HERE I hope you have enjoyed the beautiful weather we’ve had this summer and, of course, a few movies here at the Film Society. SM Thanks to our Director of Programming, Dennis Lim, and his dynamic team, we have a fantastic new slate of films to share with you that exemplify our commitment to adventurous, FILM LIVES HERE diverse, and stimulating programming. Kick off your fall and spend Labor Day weekend with the Godfather of Soul James Brown and then soak in the one-of-a-kind world of John Waters. Catch up on your New FILM ENGAGES HERE York Film Festival history with NYFF Opening Acts by watching earlier works by today’s most energizing and important directors. Then dive right in to the 52nd New York Film Festival itself and see the work of master filmmakers alongside new talents. FILM PROVOKES HERE Your support of our year-round work allows us to continue to inspire and challenge past, present, and future generations of filmmakers and filmgoers and provide a welcoming environment to all those who love film. As you flip through the pages of this new September/October calendar, I think you’ll FILM SURPRISES HERE agree: Film Lives Here. FILM BELONGS HERE Lesli Klainberg Executive Director FILM LIVES HERESM HERE STARTS TABLE OF CONTENTS Festivals & Series 1 PROVOKES PROVOKES James Brown: The Hardest Working Man in Show Business (August 29–September 1) 2 Fifty Years of John Waters: How Much Can You Take? (September 5–14) 4 Roberto Minervini’s Texas Trilogy (September 19–25) 8 HERE FILM NYFF Opening Acts (September 19–25) 9 The 52nd New York Film Festival (September 26–October 12) 11 By Marguerite Duras (October 15–22) 14 HERE FILM Krzysztof Kieślowski’s Decalogue (October 24–26) 16 Special Programs 17 INSPIRES New Releases 20 September Schedule 22 October Schedule 24 BELONGS Support the Film Society 26 Coming Soon 27 HERE FILM FESTIVALS HERE FILM VENUE & TICKET INFORMATION MATTERS Walter Reade Theater & Elinor Bunin Munroe Film Center (Francesca Beale Theater, Howard Gilman Theater, Amphitheater) W. 65th Street, between Broadway and Amsterdam To Purchase Online Visit filmlinc.com To Purchase In Person Film Society box offices & SERIES open 30 minutes before the first screening and close 15 minutes after the start of the last SURPRISES screening. For more information call 212.875.5600. $8 Film Society Members & Patrons | $9 Students & Seniors (62+) | $13 General Public HERE FILM Please Note Valid ID required for Member, Student, and Senior discounts. Discount packages may also be available for select series. Special pricing applies to the New York Film Festival, New Directors/New Films, Rendez-Vous with French Cinema, and select screenings. All prices are subject to change. DOWNLOAD THE FREE FILM SOCIETY APP to browse and discover our films and programs, receive up-to-the-minute ticket alerts, create your own custom schedule, connect with friends via HERE FILM social media, and more! Available for iOS (iPhone and iPad) and Android devices. CONNECTS GO GREEN! The Film Society bimonthly calendar is always available online at filmlinc.com. Fifty Years of John Waters: How Much Can You Take? Members and Patrons, please consider joining us in our effort to go green by opting out of Pink Flamingos FILM receiving the printed calendar. Learn more at filmlinc.com/GoGreen. Photo by Lawrence Irvine, © Dreamland Productions. Courtesy of The Kobal Collection 1 ENTERTAINS FILM The Blues Brothers Soul Power he work of James Brown was something radically new in the landscape of ’60s pop music: a marriage of movement and voice that felt both tightly regulated and out of control. It’s Tno surprise that Brown, whose art relied so heavily on gesture and dance, had a special relationship with the camera. Much of his finest work can be found in his film appearances, of which this series represents the cream of the crop. Antidote Films USA/The Kobal Collection Kobal Antidote Films USA/The Universal/The Kobal Collection Universal/The Kobal Black Caesar Ski Party Larry Cohen, USA, 1973, 35mm, 87m Alan Rafkin, USA, 1965, 35mm, 90m In this furious Blaxploitation riff on the Hollywood gang- Brown made an unforgettably zany cameo in this prime ster film, for which Brown composed the soundtrack, a example of ’60s youth movie, skiing uninvited into a cabin poor black shoeshine boy takes out a corrupt mob boss, full of teenagers and launching into a spontaneous rendi- only to accept the white man’s power structures when he tion of “I Feel Good.” With Frankie Avalon and Dwayne himself gains control. Hickman. August 29, 8:30pm August 29, 4:30pm August 30, 6:30pm August 30, 4:30pm The Blues Brothers Soul Power JAMES John Landis, USA, 1980, 35mm, 133m Jeffrey Levy-Hinte, USA, 2008, 35mm, 92m The Blues Brothers’s big-screen debut, a trigger-happy Jeffrey Levy-Hinte, the editor of When We Were Kings, action odyssey featuring Brown as a roof-raising gospel directed this exhilarating portrait of the three-day music preacher, remains their crowning achievement and sees festival held in Kinshasa before the Ali-Foreman match, Dan Aykroyd and John Belushi at the height of their featuring, among many others, B.B King, Bill Withers, The comedic and dramatic powers. Spinners, and Brown at his finest. August 30, 8:30pm August 29, 6:30pm BROWN September 1, 3:15pm August 30, 2:30pm James Brown Performance Compilation The T.A.M.I. Show Digital projection, approx. 75m Steve Binder, USA, 1964, 16mm, 123m A truly one-of-a-kind assortment of clips of the Godfather The Holy Grail of concert films—featuring Brown in an THE HARDEST WORKING of Soul, on stage and in his element. Spanning multiple earth-shaking, career-defining performance—is a show- periods of his career and featuring invaluable footage case for American pop music at the undisputed height of of Brown on The Ed Sullivan Show and Soul Street, this its passion, humor, pathos, virtuosity, and vigor. selection finds Mr. Dynamite workin’ it as only he could. August 31, 2:00pm & 6:30pm MAN IN SHOW BUSINESS August 31, 4:30pm & 9:00pm When We Were Kings Rocky IV Leon Gast, USA, 1996, 35mm, 88m AUGUst 29 – SEPTEmbER 1 Sylvester Stallone, USA, 1985, 35mm, 91m Leon Gast’s now-classic documentary on the “Rumble The Italian Stallion went up against a cartoonishly impas- in the Jungle” is a snapshot of a moment when black sive Soviet “mountain of muscle” in Stallone’s bombastic Americans were starting to embrace their African heri- Special Holiday Weekend Pricing! Reagan-era take on U.S.-Russia relations, capped by a tage—thanks in part to the example of Muhammad Ali, standout Brown performance of “Living in America.” whose irrepressible presence dominates the film. SPECIAL THANKS: Adam Sekuler; Joe Lauro & Historic Films Archive September 1, 1:15pm & 6:00pm September 1, 8:00pm FEstIVALS & SERIES 2 3 JAMES brown Multiple Maniacs Cecil B. Demented John Waters, USA, 2000, 35mm, 87m fifty years of Stephen Dorff and Melanie Griffith star as, respectively, the leader of a guerrilla band of horny misfit filmmakers (the Sprocket Holes), and the A-list movie star they kid- nap, Patty Hearst–style, in Waters’s freewheeling attack on the Hollywood star system. September 12, 7:00pm (Q&A with John Waters) © Dreamland Productions Irvine, Photo by Lawrence Special Event: Celluloid Atrocity Night! The Kobal Collection The Kobal Join us for a once-in-a-lifetime evening as John Waters JOHN WATERS presents his first two features,Mondo Trasho and Multiple Maniacs, along with early short The Diane Linkletter Story, all on 16mm. These exceedingly rare prints are from Waters’s personal collection, and probably screening for HOW MUCH the last time ever! Waters will be joined onstage for a con- versation with critic Dennis Dermody. Featuring: Multiple Maniacs John Waters, USA, 1970, 16mm, 90m CAN YOU The Diane Linkletter Story John Waters, USA, 1970, 16mm, 10m Mondo Trasho John Waters, USA, 1969, 16mm, 95m A Dirty Shame TAKE? September 11, 7:00pm Cry-Baby John Waters, USA, 1990, 35mm, 85m Johnny Depp—already a teen icon for playing the lead on TV’s 21 Jump Street—appears as the titular bad-boy hero of Waters’s raucous, exuberant salute to the teen rock ’n’ roll films of the 1950s. With supporting turns by Joe Dallesandro, Traci Lords, and Iggy Pop. September 13, 3:00pm Fine Line Features/The Kobal Collection Fine Line Features/The Kobal September 14, 8:00pm Desperate Living John Waters, USA, 1977, 35mm, 90m Waters’s self-described “fairy tale for fucked-up children” was the last of his truly independent productions: a cata- log of horrors that veers between comedy and disgust and in which no taboo is left unbroken. September 7, 6:30pm A Dirty Shame John Waters, USA, 2004, 35mm, 89m Cry-Baby For his last completed film to date, Waters combined the SEPTEMBER 5–14 encyclopedic, freak-show flair of his earlier movies with the gentler tone of his later tributes to specific, defunct genres—in this case, the sexploitation film. With Tracey ver the course of 12 features—six maniacal midnight-movie classics and six subversive Ullman, Selma Blair, and Johnny Knoxville.
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    Dominiek Hoens & Sigi Jöttkandt INTRODUCTION ‘Lacan is not all’1 xpressed with the simplicity of her elliptical put-down which we have adopted for our title for this special issue, Marguerite Duras’ attitude to- wards psychoanalysis was ambiguous to say the least.1 Frequently, when she speaks of psychoanalysis, she leaves us in no doubt of her very great Emistrust of it, her acute sense of being a stranger to its discourse. Yet, regarding the event that inspired these invitations to express her opinion on psychoanalysis – Jacques Lacan’s “Homage to Marguerite Duras, on Le Ravissement de Lol V. Stein,” – she is generally positive, at times even enthusiastic.2 Since its first appearance in 1965, Lacan’s sibylline essay has provoked a flood of commentaries and further explorations of the topics it alludes to: love, desire, femi- ninity, writing, among many others. Therefore, it seems natural to us to launch this issue with Jean-Michel Rabaté’s essay on The Ravishing of Lol V. Stein, the pivotal novel in Duras’ oeuvre and the text that originally sparked the Lacanian interest in Duras. In his candid contribution, Rabaté raises the issue of ravissement, starting from his question, “Why were we all in love with Marguerite Duras?” This ‘all,’ we discover, may first and foremost include Lacan, whose “Homage” entails an analy- sis of his own ravishment by Duras or, more precisely, by the unfolding triangles in Lol V. Stein that end up encompassing the reader. It is for this reason that, even as he pays careful, ‘academic’ attention to the ternaries inside, yet transgressing, the confines of the novel, Rabaté also cannot refrain from a ‘personal’ questioning of the triangle that was constituted by Duras, her work and himself, as he recalls in this intimate memoir recounting the remarkable times that they spent together in Dijon, and later, in Paris in the 1970s and 1980s.