DOCSLIB.ORG

Bamcinématek Presents Adjani, a 12-Film Retrospective of French Icon and Fierce Leading Lady Isabelle Adjani, Mar 8—21

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bamcinématek Presents Adjani, a 12-Film Retrospective of French Icon and Fierce Leading Lady Isabelle Adjani, Mar 8—21 BAMcinématek presents Adjani, a 12-film retrospective of French icon and fierce leading lady Isabelle Adjani, Mar 8—21 New DCP restorations of André Téchiné’s The Brontë Sisters and the director’s cut of Elaine May’s Ishtar, plus a newly restored 35mm print of Walter Hill’s The Driver Presented in partnership with uniFrance Films and French Cultural Services The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Feb 8, 2013—From Thursday, March 8, through Thursday, March 21, BAMcinématek presents Adjani, a 12-film retrospective of “the French Garbo,” including underseen rarities as well as the actress’ best-known work, several shown in new 35mm prints and DCP restorations. Isabelle Adjani’s fierce, powerful screen presence and raven-haired beauty have made her an icon of French cinema. Bursting onto the international scene in Truffaut’s The Story of Adele H., she has gone on to win a record five Césars, work with such auteurs as Werner Herzog, Roman Polanski, Walter Hill, and Andrzej Zulawski, and become an outspoken champion of immigrant rights. In her best roles, Adjani projects a smoldering intensity that is at once alluring and excitingly unpredictable. “I am what they call a pretty intense actress,” Adjani, a specialist in tragic heroines and madwomen, has admitted. She became a star in France in the comedy The Slap (1974) and around the world a year later when François Truffaut, mesmerized by that performance, cast Adjani as the lovesick daughter of Victor Hugo in The Story of Adele H. (1975—Screening Sunday, March 10). In this “musical, lilting film with a tidal pull to it” (Pauline Kael), Truffaut scrupulously recreates the everyday details of transit, entertainment, and communication in Hugo’s era. Against that backdrop of mundane reality Adjani etches one of the cinema’s most ardent studies of frustrated passion, a real-life stalker avant la lettre who followed a disinterested lover around the world. Adele H. earned Adjani Best Actress awards from the New York Film Critics Circle and the National Society of Film Critics, as well as an Academy Award nomination, commencing a career as one of the most decorated actresses in film history; she went on to earn citations from the Cannes and Berlin Film Festivals, a second Oscar nod, and a record-breaking five César Awards. Though she was something of an outsider in France—the child of a German mother and an Algerian garage worker who grew up in a working-class Paris suburb—the rest of the world greeted Adjani, with her pouty lips and rounded vowels, as the emblematic jeune fille. Journalists often compared her to Bardot (for her sensuality) and Garbo (for her mystery). “Indignant, amused, aloof, proud, possessed—the most cherishable actress alive,” rhapsodized James Wolcott. Adjani was shrewd about her career, choosing projects less for the quality of the role than for the director at the helm. Roman Polanski was a must for Adjani. He cast her as the kooky girlfriend in The Tenant (1976—Mar 17), the claustrophobic, Kafkaesque cult favorite in which a nobody (played by Polanski himself) purloins an apartment following its occupant’s suicide and begins to take on the dead girl’s identity. For Werner Herzog, Adjani played Lucy in Nosferatu the Vampyre (1979—Mar 16), a remake of the canonical silent that, much like Adele H., emphasized the grimy minutiae of 19th-century life as much as its supernatural horrors: those hordes of plague-bearing rats induce as many squirms as the bloodsucking freak (Klaus Kinski). Polish master Andrzej Zulawski pursued Adjani for years before she agreed to star in his masterpiece, Possession (1981—Mar 15), as the terrorized wife in a bitter divorce drama that morphs into a Freudian science fiction opus (complete with a Carlo Rambaldi monster!). Adjani’s infamous five-minute food-flinging freak-out became the centerpiece of one of the cinema’s most uninhibited performances, winning her a Best Actress Award at Cannes and her first César. Adjani also had a good eye for recognizing promising new directors, notably the young André Téchiné, for whom she starred in Barocco (1976) and The Brontë Sisters (1979—Mar 8; new DCP restoration). Hauntingly atmospheric and almost Bressonian in its restraint, Téchiné’s literary biography assembles an all-star cast as the repressed (and oppressed) soeurs: Marie-France Pisier, Isabelle Huppert, and Adjani, who plays defiant tomboy Emily, wearing pants and roaming the windy moors with her brother (her Queen Margot costar Pascal Greggory) and her blind father (A Clockwork Orange’s Patrick Magee) en route to writing Wuthering Heights. By the mid-80s, Adjani had become France’s biggest box office draw, starring in popular hits like Jean- Paul Rappeneau’s All Fired Up (1982—Mar 20), Jean Becker’s One Deadly Summer (1983—Mar 14), and Luc Besson’s Subway (1985—Mar 9). Rappeneau’s family comedy, which starred Yves Montand as uptight Adjani’s long-lost père, did not receive a commercial release abroad, and makes a rare appearance in this series. Becker’s steamy, sunlit noir about a seductress who blows into a provincial town on a mission of revenge, scandalized French audiences for its extended full-frontal scenes featuring Adjani, known until then as a “good girl.” Clothed again, and in the highest of fashion, Adjani decorated Besson’s Subway as a gangster’s wife who falls for peroxided, tuxedo-clad pickpocket Christopher Lambert in this key entry in the short-lived ultra-pop cinéma du look movement. A tabloid fixture in her native country, Adjani endured a series of scandals, including the revelation of her North African heritage (initially, she had lied, claiming her father was Turkish) as she spoke out against racism, and a bizarre rumor that she was dying of AIDS. Undaunted, Adjani used her bankability to get a passion project off the ground, handpicking Bruno Nuytten (the cinematographer on The Brontë Sisters and the father of her first child) to direct Camille Claudel (1988—Mar 13), a biopic about a promising sculptress who becomes ruinously obsessed with her teacher and lover Rodin (Gérard Depardieu). “Her most overwhelming and characteristic performance, as a woman in love with art, exhilaration, and danger” (David Thomson). Best known in the US for her romances with Warren Beatty and Daniel Day Lewis, Adjani flirted with a Hollywood career that was never wholly consummated. Dropping out of Sydney Pollack’s Bobby Deerfield, and turning down Fatal Attraction and Dick Tracy, Adjani—fluent in English via a crash course of Happy Days reruns—made her US debut in The Driver (1978—Mar 9; in a newly restored 35mm print) as a professional gambler drawn to Ryan O’Neal’s inscrutable wheel-man. Walter Hill’s lean, moody criminal-versus-cop chase—“perhaps the most abstract movie ever made in Hollywood” (Michael Sragow)—was a blueprint for the recent hit thriller Drive. Adjani’s second American film, shot on location in Morocco, was Elaine May’s Ishtar (1987—Mar 20), a political satire that cast megastars Beatty and Dustin Hoffman as nitwit lounge singers caught up in a CIA plot to overthrow a Middle Eastern government. A humungous flop upon its initial release and an enduring punchline for late-night comedians, Ishtar has over time become a cause célèbre, having been championed by prominent film critics including J. Hoberman (“extremely droll… worthy of Samuel Beckett”), Jonathan Rosenbaum (“very prescient… a surprisingly sweet-tempered farce”), and Richard Brody (“among the most original, audacious, and inventive movies… of modern times”). BAMcinématek presents a new DCP restoration of the director’s cut. At the height of her stardom, Adjani went into semi-retirement, interrupting a nearly 15-year absence from the screen in the mid-90s to make three films, among them Patrice Chéreau’s Queen Margot (1994— Mar 21), an energetic bodice ripper that compiles more sex and blood than all of her earlier period pieces combined. As Marguerite de Valois, the radiant Adjani was nearly 40 but somehow passed for half that. “Filmographies are like necrologies,” she wrote in the film’s Cannes program. “I do not like dates. The present is always the start.” For press information, please contact Gabriele Caroti at 718.724.8024 / [email protected] Lisa Thomas at 718.724.8023 / [email protected] Adjani Film Schedule Fri, Mar 8 2, 4:30, 7, 9:30pm: The Brontë Sisters Sat, Mar 9 2, 7pm: The Driver 4:30, 9:30pm: Subway Sun, Mar 10 2, 4:30, 7, 9:30pm: The Story of Adele H. Wed, Mar 13 4:30, 7:45pm: Camille Claudel Thu, Mar 14 4:30, 7:30pm: One Deadly Summer Fri, Mar 15 1:30, 4, 6:45, 9:30pm: Possession Sat, Mar 16 7, 9:30pm: Nosferatu the Vampyre Sun, Mar 17 1:30, 4, 6:45, 9:30pm: The Tenant Wed, Mar 20 4:30, 9:30pm: All Fired Up 7pm: Ishtar Thu, Mar 21 7pm: Queen Margot Film Descriptions All Fired Up (1982) 108min Directed by Jean-Paul Rappeneau. With Yves Montand. Adjani’s comedic chops get a rare showcase in this farcical thriller about a young woman whose long- absent father (French acting legend Yves Montand) reappears suddenly to scrounge money for… well, what does he need that money for, really? Soon enough, father and daughter are fending off mobsters in scenic Swiss locales, culminating in an alpine chase. 35mm. Wed, Mar 20 at 4:30, 9:30pm The Brontë Sisters (1979) 120min New DCP restoration! Directed by André Téchiné. With Isabelle Huppert, Marie-France Pisier. Emily (Adjani), Charlotte (Pisier), and Anne (Huppert) eke out a drab existence in Victorian England while caring for their troubled, opium-addicted brother.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Werner Herzog Retrospective
    Home Category / Arts and Culture / Werner Herzog Retrospective Werner Herzog Retrospective Slave trade abolition in Cobra Verde Share it! 28 SHARES Published May 15, 2017, 12:05 AM By Rica Arevalo Film director Werner Herzog is a leading gure of the New German Cinema. Born on Sept. 5, 1942, his lms are unconventional and important with the art house audience. The Goethe-Institut Philippinen in partnership with the Film Development Council of the Philippines is showing Herzog’s acclaimed lms until June 4. On May 20, 6 p.m., Cobra Verde (1987) starring Klaus Kinski based on the novel, The Viceroy of Ouidah by Bruce Chatwin, is going to be screened at the FDCP Cinematheque Manila. Kinski plays Francisco Manoel da Silva, nicknamed Cobra Verde, a bandit who walks barefoot and does not own a horse for travelling. People are afraid and run away from him. He tells a bar owner that he never had a friend in all his life. At that time, slave trade was ourishing in Brazil. Black men were sold in exchange for ammunition, liquor, and silk. Cobra Verde meets Don Octavio, a sugar plantation owner who asks him to manage his elds. He accepted the job oer but impregnated Don Octavio’s daughters. To banish him, he was sent to Africa to buy slaves knowing that he will not survive. Cobra Verde took hold of a garrison, Fort Elmina, improved the place and lived there managing the slaves with Taparica (King Ampaw). The slave trade across the Atlantic and Brazil was their route. Werner Herzog and Klaus Kinski But “btlack people believe the devil is white” so the King’s men captured the two.
    [Show full text]
  • James Ivory in France
    James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind.
    [Show full text]
  • Philosophy Goes to the Movies
    PHILOSOPHY GOES TO THE MOVIES ‘Philosophy Goes to the Movies is very clearly and engagingly written. It has a particular claim on the attention of those preparing students for a systematic study of philosophy, one that distinguishes it from any other introductory book I know of.’ Stephen Mulhall, University of Oxford ‘I think this is an excellent text. Falzon is in control of his material. He writes clearly and at a level that undergraduates can understand. He seems as comfortable describing films as he is explaining the nature of a philosophical problem. It will make an outstanding text to use in introductory philosophy classes.’ Thomas Wartenburg, Mount Holyoke College, USA Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of film to help us understand philosophical ideas and positions. Drawing on art- house movies like Cinema Paradiso and Hollywood blockbusters such as The Matrix, Christopher Falzon introduces and discusses central areas of philosophical concern, including: • the theory of knowledge • the self and personal identity • ethics • social and political philosophy • science and technology • critical thinking. Falzon draws from the ideas of a diverse selection of thinkers, from Plato and Descartes to Marcuse and Foucault. Ideal for the beginner, this book guides the student through philosophy using lively and illuminating cinematic examples including Total Recall, Crimes and Misdemeanors, Monty Python and the Holy Grail, Antz and Wings of Desire. It will also appeal to anyone interested in the philosophical dimensions of cinema. Christopher Falzon is Lecturer in Philosophy at Newcastle University, Australia. He is the author of Foucault and Social Dialogue (Routledge, 1998).
    [Show full text]
  • Over His Long Career, the Icon of American Cinema Defined a Style of Filmmaking That Embraced the Burnished Heights of Society, Culture, and Sophistication
    JAMES IVORY OVER HIS LONG CAREER, THE ICON OF AMERICAN CINEMA DEFINED A STYLE OF FILMMAKING THAT EMBRACED THE BURNISHED HEIGHTS OF SOCIETY, CULTURE, AND SOPHISTICATION. BUT JAMES IVORY AND HIS LATE PARTNER, ISMAIL MERCHANT, WERE ALSO INVETERATE OUTSIDERS WHOSE ART WAS AS POLITICALLY PROVOCATIVE AS IT WAS VISUALLY MANNERED. AT AGE 88, THE WRITER-DIRECTOR IS STILL BRINGING STORIES TO THE SCREEN THAT FEW OTHERS WOULD DARE. By CHRISTOPHER BOLLEN Photography SEBASTIAN KIM JAMES IVORY IN CLAVERACK, NY, FEBRUARY 2017. COAT: JEFFREY RUDES. SHIRT: IVORY’S OWN. On a mantle in James Ivory’s country house in but also managed to provoke, astonish, and seduce. the depths of winter. It just got to be too much, and I IVORY: I go all the time. I suppose it’s the place I love IVORY: I saw this collection of Indian miniature upstate New York sits a framed photo of actress In the case of Maurice, perhaps because the film was remember deciding to go back to New York to work most in the world. When I went to Europe for the paintings in the gallery of a dealer in San Francisco. Maggie Smith, dressed up in 1920s finery, from the so disarmingly refined and the quality of the act- on Surviving Picasso. first time, I went to Paris and then to Venice. So after I was so captivated by them. I thought, “Gosh, I’ll set of Ivory’s 1981 filmQuartet . By the fireplace in an ing and directing so strong, its central gay love story BOLLEN: The winters up here can be bleak.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • Patrice Chéreau. Cineasta Del Corpo Retrospettiva
    Patrice Chéreau. Cineasta del corpo Retrospettiva 16 - 21 febbraio 2010 Cinema Gnomo Milano Iniziativa promossa dal Comune di Milano A cura di Pier Giorgio Carizzoni Organizzata dall’ Associazione Culturale Dioniso Con il patrocinio del Centre Culturel Français de Milan Media partner: Rai Radio Tre Martedì 16 febbraio 2010 si inaugura al Cinema Gnomo di Milano la prima retrospettiva italiana di Patrice Chéreau, celebre regista francese di teatro e di cinema, al quale il Comune di Milano rende omaggio fino a domenica 21 febbraio con la proiezione dei 10 lungometraggi da lui diretti dal 1975 a oggi. L’iniziativa, curata da Pier Giorgio Carizzoni e organizzata dall’Associazione Culturale Dioniso con il patrocinio del Centre Culturel Français de Milan e la collaborazione di Rai RadioTre, si svolge in concomitanza con la presenza a Milano di Chéreau per la regia lirica dell’opera “Da una casa di morti” di Leoš Janá ček, al Teatro alla Scala dal 28 febbraio. Chéreau ha diretto nei suoi film alcuni dei più grandi attori del cinema europeo: Isabelle Huppert, Valeria Bruni Tedeschi, Jean-Louis Trintignant, Isabelle Adjani, Daniel Auteuil, Charlotte Gainsbourg, Simone Signoret, Charlotte Rampling, Jean-Hugues Anglade. Dalla sua filmografia emerge il profilo di un autore che sa esplorare con notevole vigore espressivo i volti e i corpi dei suoi personaggi, indagando in profondità nei risvolti più intimi e nascosti dell’animo umano, senza compiacimenti né rassicurazioni. Circa la metà dei film in programma, irreperibili in Italia, sono presentati in versione originale con sottotitoli in italiano. La rassegna si inaugura martedi 16 con la proiezione di Persécution (ore 18:30, replica domenica 21 ore 21:15, versione originale con sottotitoli in italiano), ultimo film diretto dal regista, presentato al Festival del cinema di Venezia 2009 e alla “Panoramica” milanese in anteprima assoluta, che racconta l’infelicità di un uomo perseguitato e persecutore, amante geloso e infedele fagocitato dal suo stesso narcisismo.
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
    through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma.
    [Show full text]
  • Circumference Magazine
    SAMPLE circumference fall 2020 us $12 can $14 CIRCUMFERENCE MAGAZINE SAMPLE Contents poetry poetry (continued) 4 Четыре Стихотворения из 5 Four Poems from 50 51 Housework russian chinese 家務 Воронежских Тетрадей The Voronezh Notebooks chung kwok keung may huang osip mandelstam john high & matvei yankelevich 58 The Ruin 59 The Ruin old english anonymous gnaomi siemens 16 (No Sapņu grāmatas) 17 (from a dream diary) latvian baiba bičole bitite vinklers 62 [Enterre-moi vite] 63 [Bury me quick] 64 [Tout gouvernail sera 65 [Each rudder will be french [Infrared Camera mon sabre d’aurore] my saber of dawn 18 ِمادون قرمز 19 23 22 Sealed Doors khal torabully nancy naomi carlson ابهام قفل ها persian garous abdolmalekian ahmad nadalizadeh & idra novey 66 POÉSIE ÉLÉMENTAIRE 67 ELEMENTARY POETRY 68 DROIT DE REGARD 69 IDEA INSPECTION 26 የሀገሬ ባሎች 27 Husbands of My Dear Country SUR LES IDÉES amharic mihret kebede eric ellingsen, jorga mesfin 84 GUILLOTINÉES EN 85 GUILLOTINED french & uljana wolf TÊTE À TÊTE HEAD TO HEAD ghérasim luca austin carder 28 አቃጅ 29 The Planner amharic mihret kebede uljana wolf 86 Ποίηση μες στην ποίηση 87 Poetry Within Poetry greek antonis fostieris george fragopoulos 30 Два вірші зі збірки 31 Two Poems from ukrainian Новий правопис 96 36 Sekund 97 36 Seconds A New Orthography slovenian serhiy zhadan john hennessy aleš šteger brian henry & ostap kin 102 epílogo 103 epilogue 38 Mi abuelo Klaus Kinski 39 My Grandfather Klaus Kinski 108 uma carta 109 a letter 40 Tres lombrices en la pileta 41 Three Worms in the (Rio, 24 de dezembro de 1981) (Rio, December 24, 1981) hacen en el fondo un Bottom of the Pool Make 110 uma carta (sem data) 111 a letter (undated) cuadro abstracto an Abstract Painting 112 Vacilo da vocação 113 Vacillation of Vocation portuguese ana cristina cesar (ana c.) elisa wouk almino 42 Notas para un fado 43 Notes for a Fado spanish silvina lópez medin jasmine v.
    [Show full text]
  • Movie Museum MAY 2011 COMING ATTRACTIONS
    Movie Museum MAY 2011 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY Hawaii Premiere! 2 Hawaii Premieres! BLACK SWAN Mother's Day 2 Hawaii Premieres! SUMO DO, SUMO DON'T LIKE TWO DROPS OF (2010) THE KING'S SPEECH THE ARMY OF CRIME aka Shiko funjatta WATER in widescreen (2010-UK/Australia/US) (2009-France) (1992-Japan) (1963-Netherlands) in widescreen in French/Grman w/ English in Dutch/German with in Japanese with English with Natalie Portman, with Colin Firth, Geoffrey subtitles & in widescreen subtitles & in widescreen English subtitles & widescreen with Simon Abkarian. Directed by Fons Rademakers. Mila Kunis, Vincent Cassel, Rush, Helena Bonham Carter, with Masahiro Motoki, Barbara Hershey, 12:30, 3 & 5:30pm only 12:30 & 3pm only Guy Pearce, Jennifer Ehle, ---------------------------------- Misa Shimizu, Naoto Winona Ryder. Michael Gambon, Derek Jacobi. Takenaka, Akira Emoto. ---------------------------------- LIKE TWO DROPS OF THE ARMY OF CRIME WATER Written and Directed by (2009-France) Directed by Directed by (1963-Netherlands) Masayuki Suo. in French/Grman w/ English Darren Aronofsky. Tom Hooper. in Dutch/German with subtitles & in widescreen English subtitles & widescreen 12:30, 2:30, 4:30, 6:30 with Simon Abkarian. 12:30, 2:30, 4:30, 6:30 12:15, 2:30, 4:45, 7:00 & Directed by Fons Rademakers. & 8:30pm 9:15pm 8pm only & 8:30pm 5 5:30 & 8pm only 6 7 8 9 2 Hawaii Premieres! THE MAGIC HOUR BLUE VALENTINE Hawaii Premiere! 2 Hawaii Premieres! KATALIN VARGA JE VOUS TROUVE (2008-Japan) (2010) THE TIGER BRIGADES TRÈS BEAU aka
    [Show full text]
  • Sleep Like a Rolling Stone
    GO Stay /// Sleep Like a (Rolling) Stone BY NICHOLAS GILL PERU PERU La Casa Fitzcarraldo 51/(65) 601-138 lacasafitzcarraldo.com From $55 per night. Includes breakfast and airport pickup. Iquitos is best reached by plane from Lima. The flight lasts one to two hours. Gimme Shelter like other rooms at la casa fitzcarraldo, the Blue Room has a ceiling fan and a mahogany parquet floor. A tapestry of psychedelic geometric shapes, typical of the indig- enous Shipibo people, is draped above the bed. At night, the sound of crickets and frogs seeps in through the screen, drowning out the traffic on the streets of Iquitos, the largest city in the Peruvian Amazon region. But staying in this particular room offers a certain, well, satisfaction. Yes, Mick Jagger slept here. It was in 1981, when Jagger was cast in the filmFitzcarraldo , the epic tale of a 19th-century rubber prospector who attempts to transport a steamship over a mountain. The movie-making process was an epic unto itself, as director Werner Herzog insisted that the cast and crew actually carry a ship over a mountain in the jun- gle. (His financiers would have preferred he use miniatures on a sound stage.) During the shooting, a large house owned by the film’s executive producer, Walter Saxer, served as a production base and crash pad. Herzog liked to stay in the back bungalow, actor Klaus Kinski took the Green Room upstairs, and Jagger claimed the Blue Room. COURTESY OF LA CASA FITZCARRALDO 50 AFAR JULY/AUGUST 2010 afar.com ON LOCATION: The chaos on the Fitzcarraldo set is legendary.
    [Show full text]