may/jun 2012

UC Berkeley Art Museum & Pacific Film Archive

program guide

State of Mind: New California Art circa 1970 42nd Annual M.F.A. Exhibition Andy Warhol Ray Johnson SF International Film Festival Michael Glawogger Nathaniel Dorsky Curtiss Clayton Gregory Peck BAM/PFA 1 EXHIBITIONS & FILM SERIES

The 42nd Annual University of California, Berkeley

Master of Fine Arts Graduate Exhibition p. 4

State of Mind: New California Art circa 1970 p. 6

Sun Works p. 7

Andy Warhol: Polaroids / MATRIX 240 p. 7

Tables of Content: Ray Johnson and Robert Warner

Bob Box Archive / MATRIX 241 p. 7

The Reading room p. 8

Abstract Expressionisms: Paintings and Drawings

from the collection p. 8

Himalayan Pilgrimage: Journey to the Land of Snows p. 8

San Francisco International Film Festival @ BAM/PFA p. 11

Afterimage: Films of Michael Glawogger p. 17

Film and Video Makers at Cal p. 18

Peter Greenaway: Cinema and Painting p. 18

Afterimage: Three Nights with Nathaniel Dorsky p. 19

Gregory Peck: An Agreeable Gentleman p. 20

Behind the Scenes: The Art and Craft of Cinema,

Editor Curtiss Clayton p. 22

From the Collection p. 23

Tribute to Ken Russell (1927–2011) p. 23

One-Two Punch: Pulp Writers Dorothy B. Hughes,

Mickey Spillane, Elmore Leonard p. 24

Three Czech New Wave Classics p. 26

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Download a pdf version of this and previous issues of the Program Guide Cover cccccccc from our website, bampfa.berkeley.edu/programguide. 1. 24 City, 4.11.12, p. 25 Subscribe to the BAM/PFA events calendar in iCal, 2. Here Is Always Somewhere Else, 3.23.12, p. 4 bampfa.berkeley.edu/calendar.

Learn more about our L@TE programmers at bampfa.berkeley.edu/late. 2 MAY & JUNE 2012 2 L@TE:

Friday /w[ed]nesday TE

Nights L@ @ BAM/PFA

w(ED)nesday @ BAM/PFA

Introducing w(ED)nesday, a midweek superabundance of varied, inter- connected, and sometimes overlapping readings, conversations, and other interactive events focused around art, literature, politics, and Friday / 5.11.12 the world we live in. 7:30 Eleanor Antin, Conversations with Stalin Join us on May 9 for our first w(ED)nesday, which features poets, Programmed by Constance M. Lewallen artists, curators, and others reading the work of Joe Brainard in the Doors 5:00 / RE@DS: Lara Durback 5:30 /Gallery Talk: Eleanor Antin and Tom Marioni 6:30 Museum Theater; artists Paul Kos, Lynn Hershman Leeson, and Chip Eleanor Antin credits her idiosyncratic first-generation Jewish immigrant family, as well Lord talking about their work in the State of Mind galleries; a viewing as Stalin himself, for the desperate and often hilarious quests for art, self, revolution, and and discussion centered on political posters created by John Baldes- sex that fueled her childhood and teen years. This evening, she reads from Conversations sari, Kevin Killian, Amy Franceschini, and many others in Gallery B; with Stalin, her no-holds-barred coming-of-age memoir, performed in the spirit of the and readings by and discussions with poet Suzanne Stein and writer irrepressible Dorothy on the road to Oz. David Brazil in The Reading Room. See page 9 and bampfa.berkeley. edu for details. Friday / 5.25.12 7:30 The evening is co-organized by the San Francisco–based Kadist Art Lou Harrison's La Koro Sutro Foundation, which participates in the development of society by col- Programmed by Sarah Cahill lecting and producing the work of contemporary artists and sponsoring Doors 5:00 programs to promote their role as cultural agents. Join us in celebrating what would have been the ninety-fifth birthday of the brilliant and innovative California composer Lou Harrison. Our galleries reverberate, shimmer, and shake with no fewer than three choruses (the UC Berkeley Chamber Chorus, Sacred Admission to L@TE and w(ED)nesday is $7; always free for BAM/PFA members and Profane, and the USF Classical Choral Ensemble) and a large battery of handcrafted and Cal students, faculty, and staff; free with same-day theater or gallery ticket. percussion instruments known as the American gamelan. The evening features a per- Galleries open until 9 p.m. formance of Harrison’s powerful La Koro Sutro, conducted by Marika Kuzma, and two L@TE and w(ED)nesday are made possible in part by the continued support chamber works, performed by the Abel-Steinberg-Winant Trio. Please come early for of the BAM/PFA trustees. The L@TE program on 5.25.12 is sponsored by New best seating. A limited number of chairs will be available; please bring a pillow and make Albion Records. yourself comfortable on the gallery floor.

Cover Nathaniel Dorsky, Winter, 6.17.12, p. 19.

1. Al Ruppersberg: Untitled (standee), from Al's Grand Hotel, 1971; tinted photograph mounted on plywood; approx. 72 in. tall; courtesy of the artist, Santa Monica, California, and Margo Leavin Gallery, Los Angeles. On view in State of Mind.

2. John Baldessari: Needle (with Camel), 2012. Poster for In Protest, 5.9.12, p. 9.

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Master o r v i k A R my f Fine A athbone J Graduate E Graduate rts ennie S B mith Wal rett xhi k er bition The 42nd Annual University of California, Berkeley Master of Fine Arts Graduate Exhibition

Kari Marboe Frank Emilio Marquez-Leonard Rodrigo Ojeda-Beck Kari Orvik Amy Rathbone Jennie Smith Brett Walker

Kari Marboe measures the physical distance between language and forms yet bending the rules of what might be considered natural. image with site-specific narratives that upset the familiarity of textual Jennie Smith reverses the tenets of illustration—her watercolor and landscapes. The precarious conditions of Frank Emilio Marquez-Leonard’s graphite drawings don’t explain, but rather compel and complicate structures anticipate failure, pointing towards the paradox at the root of the unfolding of stories. Rubbing the concerns of identity politics up all material and immaterial investigations. Exploring the fictive space of against the publicity-seeking performances of our media-driven culture, cinematic narrative and the conditions of filmmaking itself—flickering, Brett Walker plays with the structure and agency of his role as an artist. camera movement, focus, sound, and the edit—Rodrigo Ojeda-Beck

builds unusual environments for storytelling. Bridging historical photo The annual M.F.A. exhibition at BAM/PFA is made possible by the Barbara Berelson processes and neighborhood histories, Kari Orvik stages a complex Wiltsek Endowment. negotiation between medium and content. Amy Rathbone’s installa-

tions are questionably organic, drawing from the simplicity of natural above The artists’ studios.

5 BAM / PFA state of mind: new california art circa 1970 EXHIBITIONS

Robert Kinmont: 8 Natural Handstands, 1969/2009 (detail); black-and-white photograph; 8 ½ × 8 ½ in.; courtesy of Alexander and Bonin, New York. Photo: Bill Orcutt.

Through June 17 Continuing Exhibition Public Programs State of Mind: New California Art circa 1970 is supported by a grant from the Getty Foundation as part of the Wednesday / 5.9.12/ 6:30 unprecedented collaborative initiative Pacific Standard , part of the Pacific Standard State of Mind: New California Art circa 1970 Time: Art in L.A. 1945–1980. Additional support for State w(ED)nesday: Artists’ Gallery Time initiative, offers an in-depth exploration of Conceptual art made of Mind has been provided by the National Endowment Talks p. 9 by both Northern and Southern California artists during a pivotal period for the Arts. Support from Ms. Robin Wright and Mr. in contemporary art. The more than 150 works of art on display—many Ian Reeves has made possible the presentation of Friday / 5.11.12 / 6:30 the pressured air work of Michael Asher. The catalog rarely seen or newly discovered—are organized by themes, such as the is supported in part by the Getty Foundation and by Artists’ Gallery Talks p. 9 street, the body, politics, private/public space, and language/wordplay, Furthermore: a program of the J.M. Kaplan Fund. State of that elucidate this dynamic era in our history and foreshadow the Mind is co-organized by BAM/PFA and the Orange County Friday / 5.11.12 / 7:30 concerns of young artists working today. Museum of Art (OCMA) and co-curated by Constance M. Lewallen, adjunct curator at BAM/PFA, and Karen Moss, L@TE: Eleanor Antin, adjunct curator at OCMA. Conversations with Stalin p. 3 Significant funding for the OCMA presentation of State of GET MORE Selected Thursdays & Sundays Download the State of Mind audioguide. Includes commentary Mind is provided by Dr. Rosalyn M. Laudati and Dr. James Pick. The presentation of State of Mind at BAM/PFA is Guided Tours p. 9 by sixteen artists and an introduction by co-curator State of Mind made possible in part by the continued support of the Constance M. Lewallen. Listen online or download before your visit BAM/PFA Trustees. In the Museum Store at bampfa.berkeley.edu/som_guide. State of Mind: New California Art circa 1970, by Constance M. Lewallen and Karen Moss with additional essays by Julia Bryan-Wilson and Anne Rorimer. UC Press, hardcover, $39.95.

6 MAY & JUNE 2012 Sun Works

Through may 6 continuing EXHIBITION

Sun Works features a 1979 work by Conceptual artist Sarah Charlesworth and a new piece by emerging Bay Area artist Chris McCaw. Charlesworth’s Arc of Total Eclipse (1979) tracks a solar eclipse across the front pages of multiple newspapers; McCaw’s Sunburned GSP #488 (2011) captures the path of the sun on a paper negative. Both pieces evoke the very origin of the medium while questioning the role of the photograph as a simple representation of reality.

Sarah Charlesworth: Arc of Total Eclipse, February 26, 1979, 1979/2010 (detail); twenty-nine Fuji Crystal archive prints; dimensions variable; gift of Seymour and Alyce Lazar, new printing made possible by a bequest of Phoebe Apperson Hearst.

Andy Warhol: Polaroids / MATRIX 240

Through May 20 Continuing Exhibition

Meet celebrities and other fabulous people in this diverse selection of portraits taken by Warhol in the 1970s and 1980s with his favorite camera, the Polaroid Big Shot. A generous gift from the Andy Warhol Foundation for the Visual Arts, these images reveal a little-known but seminal aspect of Warhol’s practice.

Andy Warhol: Polaroids / MATRIX 240 is organized by Curatorial Intern Fabian Leyva-Barragan and Assistant Curator Stephanie Cannizzo. Special thanks to The Andy Warhol Foundation for the Visual Arts for making this exhibition possible.

Andy Warhol: Unidentified girl (blue t-shirt with teddy bear), 9/1979; Polacolor Type 108; 4 ¼ × 3 ⅜ in. 2008.2.90.; gift of The Andy Warhol Foundation for the Visual Arts.

Tables of Content: Ray Johnson & Robert Warner Bob Box Archive / MATRIX 241

Through May 20 Continuing Exhibition Tables of Content is organized by Lucinda Barnes, chief curator and director of programs and collections, in collaboration with The collagist Robert Warner has arranged the contents of Robert Warner. thirteen boxes given to him by reclusive artist Ray Johnson (the The MATRIX Program at the UC Berkeley Art Museum and Pacific Film “Bob Boxes”) on tables and on the gallery walls. The collages, Archive is made possible by a generous endowment gift from Phyllis letters, drawings, beach trash and other found objects reveal C. Wattis and the continued support of the BAM/PFA Trustees. Johnson’s stream-of-consciousness flow through the matter and memory of everyday life. Ray Johnson: Untitled correspondence from Bob Box Archive, 1988–95; mixed media. From Esopus 16 (Spring 2011).

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 7 BAM / PFA The Reading Room

Through June 17 Continuing Exhibition Public Program

Visit The Reading Room, an exhibition of poetry and experimental fiction Friday / 5.11.12 / 5:30 and an experiment in free exchange. Settle in and select a volume to read RE@DS: Lara Durback p. 9 from the extensive array on our shelves. Even take a book home with you, as long as you eventually replace it with another volume from your own collection. On display in The Reading Room are recently acquired works on paper that artist George Schneeman (1934–2009) made in collabora- tion with poets.

The Reading Room is supported by a generous grant from the Kadist Art Foundation, EXHIBITIONS San Francisco.

Abstract Expressionisms: Paintings & Drawings from the collection

Through June 10 Continuing Exhibition

Come spend some time with the work of seminal Abstract Expressionists this spring at BAM/PFA. Forceful paintings by Mark Rothko, Willem de Kooning, Hans Hofmann, William Baziotes, Asger Jorn, Philip Guston, and Upcoming others hang in light-filled Gallery A, while Gallery C displays rarely seen works on paper by artists including Sam Francis, Mark Tobey, Antonio Saura, and Norman Bluhm.

Willem de Kooning: The Marshes, 1945; charcoal and oil on composition board; 32 × 23 ⅞ in.; gift of Julian J. Aberbach and Jerry Ganz.

Himalayan Pilgrimage: Journey to the Land of Snows Human Rights

Through 2013 Arts Week CONTINUing EXHIBITION October 31–November 11 Internationally acclaimed artist Fernando Explore the journey of Buddhism across several centuries and from India Botero (b. 1932) is widely known for lively into Tibet through exquisite sculptures and paintings dating from the ninth compositions of volumetric, sensual figures. to the eighteenth centuries. Yet his works also convey a deep commitment Life of the Buddha Shakyamuni; Central Tibet, 12th–14th century; opaque pigments to human rights. Among his earliest influences and gold on cotton; 30 ⅛ × 23 in.; on long-term loan from a private collection. were the Mexican muralists Diego Rivera, José Clemente Orozco, and David Siqueiros, who, as Botero notes, “made the reality of the country the subject of their art.” In the fall, as part of the new BAM/PFA program Human Rights Arts Week, we will feature several works from Botero’s provocative Abu Ghraib series.

Fernando Botero: Abu Ghraib 6, 2004; pencil on paper; 11 ¾ × 15 ¾ in.; gift of the artist. Photo: Sibila Savage.

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PUBLIC PROGRAMS PUBLIC PROGRAMS & JUNE 2012 10 MAY check bampfa.berkeley.edu for updates. screenings— SFIFF at guests special other We anticipate Works from the Eisner Prize Competition S F Awardee N 2012 with Cinema of Man Rissient: Pierre M 13 p. Bitter Seeds T Kristine Samuelson. John Haptas filmmakers with Waka Tokyo S with filmmaker Eye an of Blink S The Waiting Room S F S Cal student filmmakers PFA T I 1 ues un un atur atur ilm F ilm n P an on 2 d d d F d / 5.6.12 /5:00 ay /5.6.12 /1:30 ay /4.22.12 / 4.30.12 /6:30 ay /4.30.12 an d d / 4.24.12 /8:50 ay /4.24.12 rancisco esti / 4.21.12 /6:15 ay /4.21.12 /3:50 ay /4.21.12 Pierre Rissient erson d Vi heater Micha X Micha director with v , a program of experimental films, Jerome Hiler d @ BAM/PFA al M eo with director director with

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Francisco 3. Oslo, August 31, 4.20.12 international 4. The Waiting Room, 4.21.12 Film Festival 1/2/3/4 @ BAM/PFA

Friday / 4.20.12 Saturday / 4.21.12 6:30 2:00 BAM/PFA is honored to once again be the exclusive Sleeping Sickness The Double Steps East Bay venue for the San Francisco International Ulrich Köhler (Germany/France/Netherlands, Isaki Lacuesta (Spain/Switzerland, 2011) 2011) Film Festival. Join us for forty-two films—features, (Los pasos dobles). The twentieth-century French (Schlafkrankheit). A German doctor working to shorts, documentaries, experimental films—from painter and writer François Augiéras supposedly fight an epidemic in Cameroon must make difficult over thirty countries. We expect additional film- left behind a series of hidden frescoes in Mali. This choices in director Ulrich Köhler’s subtle examination makers and other special guests in person: go to poetic film, inspired by his life, uses two different of African postcolonial ties with the West. Köhler bampfa.berkeley.edu for the latest updates. characters to investigate the clues and mysteries creates a palpable sense of dread and danger, that could lead to this secret artistic trove. A black stemming as much from the characters’ internal African, Bokar Dembele, is cast as a soldier who Special Pricing landscapes as from the corruption and military imagines he is Augiéras and goes in search of the BAM/PFA members, San Francisco Film Society conflict that surround them. At times lushly beautiful bunker. The real-life artist Miquel Barceló creates members, UC Berkeley students: $11 as well as languorous and claustrophobic, the film’s intriguing Rorschach-like watercolors throughout echoes of Conrad’s Heart of Darkness suggest the General admission: $13 the film, which serve as another thread in the degree to which colonial attitudes remain embedded fabric of conundrums, mysteries, riddles, and Non-UC Berkeley students, seniors, and disabled in contemporary minds. Stephen Beachy paradoxes woven from the folk wisdom of the

persons: $12 Written by Köhler. Photographed by Patrick Orth. With Dogon people. Miguel Pendás Pierre Bokma, Jean-Christophe Folly, Jenny Schilly, Please note that our second-feature discount does Hippolyte Girardot. (91 mins) Written by Isa Campo, Lacuesta. Photographed by Diego Dussuel. With Bokar Dembele, Miquel Barceló, Alou not apply to these programs. Tickets are nonrefund- 8:50 Cissé, Hamadoun Kassogue. (87 mins) able, and may not be exchanged. CineVouchers Oslo, August 31 Joachim Trier (Norway, 2011) 3:50 may not be redeemed in person at the PFA Theater. The Waiting Room “I always thought that happy people must be Peter Nicks (U.S., 2011) All films are in their original language with English morons,” observes Anders, a recovering drug In Person Peter Nicks subtitles. Notes are adapted from the Festival catalog. addict on day leave from rehab, in this nuanced In the shadow of the MacArthur Freeway, Oakland’s character study by the maker of Reprise (SFIFF Highland Hospital is the community’s busiest and 2007). Opening with a montage of home movies Get More perhaps most critical source of emergency medi- and snippets of city life over which unseen voices Find expanded film notes and program updates cal services for the uninsured and indigent. Over reminisce about lost childhood, writer/director on our website, bampfa.berkeley.edu. 73,000 patients of every ethnicity and creed pass Joachim Trier guides actors and viewers alike through through the ER annually, including more than two Find out more about the San Francisco International a series of finely rendered set pieces. Loosely based Film Festival at festival.sffs.org. thousand trauma cases. Peter Nicks’s documentary on Pierre Drieu La Rochelle’s 1931 novel, Le feu is an intimate and intense day-in-the-life portrait follet, previously adapted by Louis Malle in 1963 as of those seeking care and the doctors, nurses, The Fire Within, Trier’s portrait of addiction is both and social workers that serve them. In the midst intoxicating and sobering. Steven Jenkins of so much pain and suffering, Nicks shows us that Written by Eskil Vogt, Trier. Photographed by Jakob life’s most dire situations are often illuminated by Ihre. With Anders Danielsen Lie, Malin Crépin, Aksel M. Thanke, Hans Olav Brenner. (96 mins) extraordinary acts of kindness and humanity’s innate ability to find a way to connect. Monique Montibon

Photographed by Peter Nicks. (79 mins)

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 11 BAM / PFA SFiff @ BAM/PFA 5/6 5. Bitter Seeds, 4.24.12

6. Tokyo Waka, 4.22.12 S I LM F

Sunday / 4.22.12 6:15 6:15 Blink of an Eye 1:30 Valley of Saints Tokyo Waka Musa Syeed (India/U.S., 2012) In Person Jerome Hiler John Haptas, Kristine Samuelson (Japan/U.S., 2011) Shot in Kashmir during the 2010 mass protests calling A storybook, medieval illuminations, and details In Person John Haptas, Kristine Samuelson for the demilitarization of the region, Musa Syeed’s of the external world are lovingly observed in five Taking flight through Tokyo, this look at the “metabo- feature film debut narrows in on a boatman and his recent experimental films that explore the nature lism” of the metropolis focuses on its unlikely spirit childhood friend, who are planning their escape to New of things, the way we think, and the possibilities of animal: the jungle crow turned big-city survivor. Tokyo Delhi. When a military-imposed curfew delays their image making. Kathy Geritz, Vanessa O’Neill Waka spotlights the whip-smart, resourceful, and departure, they encounter a young visiting scientist Forms Are Not Self-Subsistent Substances Samantha aggressive creatures that pick through trash, build nests studying the environmental impact of urbanization on Rebello, U.K., 2010, 23 mins of stolen hangers, attack passersby, and use cars to the lake. With a cast dominated by nonprofessional Armoire (Four Parts) Vincent Grenier, U.S., 2007–11, 9 mins crack open nuts. Drawing from art, culture, Buddhist Sounding Glass Sylvia Schedelbauer, Germany, 2011, 7 mins actors and set against real-time events, Valley of and Shinto spirituality, and everyday anecdotes, the Curious Light Charlotte Pryce, U.S., 2011, 4 mins Saints feels as much like a documentary as fiction, directors also construct an evocative encapsulation of Words of Mercury Jerome Hiler, U.S., 2011, 25 mins bearing intimate witness to a world on the cusp of Total running time: 68 mins a post-bubble Tokyo at a very particular moment—one change. Shari Kizirian where otaku maid culture, a homeless population, 8:30 and a kind of youthful bohemia are finding their own Written by Syeed. Photographed by Yoni Brook. With People Mountain Gulzar Ahmad Bhat, Mohammed Afzal Sofi, Neelofar People Sea precarious perches in the city. Kimberly Chun Hamid. (82 mins) Cai Shangjun (Hong Kong/China, 2011) Photographed by John Haptas. (63 mins) (Ren shan ren hai). A sort of horror film where the 8:30 Preceded by Postcard from Somova, Romania (Andreas An Oversimplification of terror stems as much from the crushing despair and Horvath, Austria/Romania, 2011). A snapshot of life by the Her Beauty pervasive corruption of working-class China as from edge of the Danube Delta doubles as a cunning portrait of Terence Nance (U.S., 2011) the murder at the center of its plot, People Mountain the secret life of animals. (20 mins) A broken date serves as catalyst for an entrancing Total running time: 83 mins People Sea is a story of vengeance set in China’s journey through the heart and mind of aggressively wild Southwest, where brutality can be the norm 3:45 intelligent filmmaker Terence Nance. In fractured rather than the exception. Director Cai Shangjun The Source essayistic fashion, the filmmaker dissects his past Maria Demopoulos, Jodi Wille (U.S., 2012) expertly modulates the film’s growing dread and relationships, fantasy life, everyday existence, and Jodi Wille and Maria Demopoulos’s documentary wretchedness with carefully choreographed long the culture at large to better understand himself and chronicles the rise and fall of the Source Family, a takes and stunning cinemascope vistas. Applying the nature of love. With each new perspective, the Southern California experiment in healthy, commu- the austere observational style and sociological film takes on a new visual language: vérité realism, nal living that devolved into a quasi-authoritarian preoccupations of Jia Zhangke to a storyline that dramatic recreation, tone poetry, and a wild array polygamist cult exiled to Kauai. The Source Family might suit an adrenaline-fueled Park Chan-wook of animation. Its hyperliterate narration and eclectic was obsessed with self-documentation, and Wille and film, Cai’s second feature is a disturbing glimpse visual style lend it the sophistication of a poem or Demopoulos make ample use of the wealth of photos, into the dark heart of Southwest China’s industrial collage, but Nance’s work is pure cinema. Jenni Rowland audiotapes, and home movies the Family managed revolution. Jesse Dubus to accrue over its short existence. Preeminent among Written by Nance. Photographed by Shawn Peters, Matthew Bray. With Nance, Namik Minter, Chanelle Pearson, Written by Gu Xiaobai, Cai, Gu Zheng. Photographed by these documents are the family’s musical record- Dexter Jones. (94 mins) Dong Jinsong. With Chen Jianbin, Tao Hong, Wu Xiubo. (91 mins) ings, a massive catalog of cult psychedelic albums beloved by record collectors and musicians. This is a thoroughly researched and enormously entertaining examination of one of the 1970s counterculture’s

strangest “families.” Tony Papanikolas

Photographed by John Tanzer. (99 mins)

12 MAY & JUNE 2012 Monday / 4.23.12 Indian cotton farmers caught up in biotech broker Preceded by And/or (Emily Hubley, U.S., 2012). An artist negotiates with interior and/or exterior muses. Subtle meta- 6:30 Monsanto’s genetically modified seed program. Peled’s Informant morphoses in the colorful hand-drawn animation mirror a Jamie Meltzer (U.S., 2012) latest heroine, a young farmer’s daughter, fights on voiceover that oscillates whimsically among characters. (6 mins) Vilified by some, venerated by others, Brandon Darby the frontline of this global human and environmental Total running time: 76 mins crisis, driven by a desire to voice the perspective and is the FBI informant instrumental to the imprisonment 8:40 of two young activists following demonstrations at the preserve the dignity of the powerless. Frako Loden Found Memories Júlia Murat (Brazil/Argentina/France, 2011) 2008 Republican National Convention. A counterpoint Photographed by Devendra Golatkar. (88 mins) (Historias que so existem quando lembradas). A young to last year’s Golden Gate Award winner, Better This Wednesday / 4.25.12 photographer drifts into the tiny Brazilian village of World, this fascinating documentary includes wide- 6:30 Jotuomba, charming the elders with her camera and ranging interviews and reenactments starring the The Law in These Parts learning the fine art of baking bread in this disarming man himself. An ear-perking investigation into the Ra’anan Alexandrowicz (Israel/U.S./Germany, 2011) meditation on memory, aging, and letting go of the exploits of a glory hound who values bravado above (Shilton ha chok). The Law in These Parts focuses past. Director Júlia Murat has cited Jia Zhang ke’s brotherhood, the film cedes Darby center stage as a sharply on the forty-five-year-old Israeli military Still Life (SFIFF 2008) and Hirokazu Kore-eda’s After reluctant antihero ready to advance his agenda by justice system: a parallel military legal system with Life (SFIFF 1999) as models for her film’s similarly any means. Jackson Scarlett jurisdiction over people who live under occupation, in deft blend of fictional and documentary elements, to Photographed by Frazer Bradshaw. (80 mins) the same territory as Israeli citizens. Archival footage which she adds Caravaggio-like interiors lit only by 8:45 from decades of occupation, including the incessant oil lamps (in brilliant work by cinematographer Lucio Women with Cows demolition of Palestinian homes, is inventively juxta- Bonelli) and a palpable affection for her characters Peter Gerdehag (Sweden, 2011) posed with insider interviews, as cinematographer and their otherworldly bit of Brazil. Steven Jenkins (Kokvinnorna). In this funny, sad, luminously filmed Shark DeMayo brings visual weight to the director’s documentary about two elderly sisters, twelve cows Written by Murat, Maria Clara Escobar, Felipe Sholl. insistent probing of topics many would prefer to avoid. Photographed by Lucio Bonelli. With Sonia Guedas, Lisa and four seasons (the usual ones, only more so in Ten years into the “global war on terror,” this story Fávero, Luiz Serra, Ricardo Merkin. (98 mins) Sweden), Inger hates milking cows while Britt positively sounds a necessary alarm. Kathleen Denny loves it. How they feel about each other is more Friday / 4.27.12 Written by Alexandrowicz. Photographed by Shark De 6:30 complicated. You couldn’t make up a character like Mayo. (101 mins) Patience (After Sebald) Britt—nor a kinship as thorny as that of these two Grant Gee (U.K., 2011) 9:00 Layering voices and images into glowing “rings,” sisters—and director Peter Gerdehag knows it. He gets The Day He Arrives the most from his rich subjects and subject matter Hong Sang-soo (South Korea, 2011) Grant Gee’s Patience (After Sebald) casts light on through an observant camera (his own), exquisite (Book chon bang hyang). High Modernist master of the German writer W.G. Sebald’s uncategorizable editing (by Tell Aulin), and an imaginative sound contemporary South Korean cinema Hong Sang- novel, The Rings of Saturn (“fiction/travel/memoir” design (by Per-Henrik Mäenpää). Judy Bloch soo returns, and then returns again, to his cherished was the best the publishers could do). Standing wit- ness for the book’s narrator, Gee relies on static long Photographed by Gerdehag. (93 mins) tableaux of endlessly looped and ever loopier time travels in his latest tale of Seoul and its sad-sack takes—virtually unpeopled—of war ruins, crossroads, Tuesday / 4.24.12 cineastes. A black-and-white variation on Hong’s and train terminals. Sebald’s words are “irradiated by 6:30 Bonsái now trademark twice-told tales about increasingly melancholy,” yet soothing in their integrity, reaping Cristián Jiménez (Chile/France/Argentina/Por- drunken filmmakers (this time incarnated by actor the alien from the specific. In voiceover, his allies and tugal, 2011) Yu Jun-sang) embarking on doomed journeys to admirers puzzle out the intensity of their affection Director Cristián Jiménez brings a keen comic sense reunite with mistreated old flames, the movie is both for the artistry and courage of the author, who died to Alejandro Zambra’s novella Bonsái, crafting an a comedy of errors (men rarely look more foolish in 2001. Julien Poirier existential romance with deep insight into the psy- than under Hong’s withering eye) and a nightmare Photographed by Gee. With Jonathan Pryce, Tacita Dean, chology of love, finding meaning through literature Rick Moody. (90 mins) vision of a tormented creator ten times darker than and the care of sensitive plants. Making several leaps Barton Fink. Chuck Stephens 8:50 forward and backward in time, Bonsái follows its Old Dog protagonist Julio (Diego Noguera, in a wonderfully Written by Hong. Photographed by Kim Hyung-koo. With Pema Tseden (China/Tibet, 2011) Yu Jun-sang, Kim Sang-joong, Kim Bok-yung, Song Sun-mi. restrained performance) in his sincere but deadpan (79 mins) (Khyi rgan). This absolutely mesmerizing third feature fumbling through early adulthood. Bonsái strikes from the leading filmmaker of the New Tibetan Cinema the perfect balance of humor and angst, wisdom Thursday / 4.26.12 tells the story of an aged sheepherder, his gruff grown 6:30 and folly, and brings home a universal emotional Crulic—The Path to Beyond son (who’s having trouble conceiving a child with his truth—though the story Julio tells may be idealized, Anca Damian (Romania/Poland/France, 2011) wife), and the old man’s Tibetan mastiff hound—a delusional, and partially fictional, nothing has more (Crulic—drumul spre dincolo). Anyone who claims highly prized breed—whose existence is imperiled power to move his soul. Gustavus Kundahl dead men tell no tales hasn’t seen this inventive and from all sides. An emotionally gripping family story beautifully animated feature, which relates one man’s Written by Jiménez. Photographed by Inti Briones. With that combines “slow cinema” pacing with limitless Diego Noguera, Natalia Galgani, Gabriela Arancibia, hunger strike against false imprisonment in Poland. vistas, Old Dog makes use of those horizon lines that Trinidad González. (95 mins) Crulic’s ghost haunts this tale in a calm and detached delimit human destinies in ways that might have 8:50 manner, retracing the steps that brought him to a wowed John Ford, even as its portrait of rural anomie Bitter Seeds sham trial defined by a casual absurdity that rivals amid astonishing scenery takes a completely modern Micha X. Peled (India/U.S., 2011) some of the most distressing moments in Kafka. approach to narrative. Chuck Stephens In Person Micha X. Peled Drawing from actual events, the film’s beautifully The first two documentaries in Micha X. Peled’s global- Written by Tseden. Photographed by Sonthar Gyal. With layered mix of watercolor backdrops, collage cutouts, Lochey, Drolma Kyab, Tamdrin Tso, Yanbum Gyal. (88 mins) ization trilogy—Store Wars: When Wal-Mart Comes to photographs, and live-action animation intensifies Town (SFIFF 2001) and China Blue (2005)—exposed the stark injustice of Crulic’s fate, while visualizing the effects of multinational corporate profiteering on his vanishing memory. Michael Krimper workers. Bitter Seeds, the final film in the trilogy, is a Written by Damian. (70 mins) vibrant investigation of the predicament of central

13 BAM / PFA SFiff @ BAM/PFA 7/8 7. It’s the Earth Not the Moon, 4.28.12

8. Meanwhile in Mamelodi, 5.3.12 S I LM F

Saturday / 4.28.12 Sunday / 4.29.12 6:30 12:00 Smugglers' Songs 1:00 It’s the Earth Not Rabah Ameur-Zaïmeche (France, 2011) Step Up to the Plate the Moon Paul Lacoste (France, 2011) (Les chants de Mandrin). Subversion takes many Gonçalo Tocha (Portugal, 2011) (Entre les Bras). “Time flies,” muses Michel Bras, peel- forms in this unblushingly partisan film, set in (É na terra não é na lua). The lure of islands as places ing photographs off a bulletin board. The hawkeyed eighteenth-century France three decades before apart from yet delicately connected to the rest of master chef is retiring from the day-to-day operation the Revolution. Renowned smuggler Louis Mandrin, civilization make them powerful places for filmmakers of the Michelin-recognized restaurant he built on a who campaigned against the unjust tax system of to land. When they do, they follow Homer, Shakespeare, hill in the L’Aubrac region, 465 kilometers from Paris. France’s ancien régime, has recently been tortured Defoe, Golding, and others drawn to the island as Letting go is never easy, though, and Michel can’t and executed. His defiance, however, lives on. An a place to unpack immense ideas about creation help but hover as his congenial son Séba sets about organized band of “Mandrins” guard an illegal market and being. Filming on the remote Azores island of making his mark. Paul Lacoste’s contemplative and in the countryside, as the peddler touts “the sad life Corvo, director Gonçalo Tocha aims “to be every- sublime study of artistry and family is calibrated to of Mandrin, songs in four volumes, a framework for where at the same time and not miss a thing.” Thus, the turning of the seasons, evoking the connection the republic…” Smugglers’ Songs depicts, realistically we delight in a furtive satire of the anthropological to the earth’s bounty that shapes the restaurant’s yet with humor, hardening resistance in the face of documentary, the informational documentary, and ever-changing menu but also the circle of life and oppression, and the strong role literacy played in the armchair adventure, made with almost naïve the transition of generations. Michael Fox sincerity. Robert Koehler inciting social change. Pamela Troy Photographed by Yvan Quéhec. (90 mins) Photographed by Tocha. (183 mins) Written by Ameur-Zaïmeche. Photographed by Irina Lubtchansky. With Jacques Nolot, Christian Milia- 3:20 Darmezin, Kenji Levan, Ameur- Zaïmeche. (97 mins) 4:00 A Secret World Ethel Gabriel Mariño (Mexico, 2012) Rory Kennedy (U.S., 2011) 8:50 Back to Stay (Un mundo secreto). The final day of high school Robert and Ethel Kennedy’s youngest child, acclaimed Milagros Mumenthaler (Argentina/Switzerland/ marks the beginning of an emotional journey for documentarian Rory Kennedy, directs this affectionate Netherlands, 2011) María (Lucia Uribe), a young loner who sets off from portrait of her mother, a formidable matriarch who (Abrir puertas y ventanas). Marked by a trio of nuanced Mexico City toward the Pacific Coast. What she is supported her husband’s political ambitions—and performances and exquisitely understated storytelling, doing and where she is going is anybody’s guess. weathered numerous tragedies—while never losing this top-prizewinner from last year’s Locarno Film The glimpses director Gabriel Mariño offers into her her quirky, independent spirit. Offering a unique Festival portrays three young sisters adjusting to the inner life reveal a desperate imagination and a broken perspective on one of America’s most prominent absence of their recently deceased grandmother. heart, while retaining a profound sense of mystery. political dynasties, the film is filled with intimate The sisters still occupy the late matriarch’s large Moving through the stark yet beautiful landscape and interviews and rare home movies from the Kennedy house in a quiet Buenos Aires neighborhood, coping a series of distinct encounters, A Secret World offers family archives. You may think you know the full story with private grief while attempting, often in vain, to glimpses into the emotional landscape of disconnected reach out to one another. Drawing the viewer deep of the Kennedy family, but the small moments Ethel Mexican youth. Stephen Beachy remembers—including RFK’s decision to scale Canada’s into a world that exists within four walls, Back to Written by Mariño. Photographed by Iván Hernández. With Mt. Kennedy after his brother’s death—reveal the Stay’s strong sense of place and complicated sibling Lucia Uribe, Roberto Mares, Olivia Lagunas, Claudia Rios. deeply affectionate family bonds behind the gilded dynamics linger long after the film is over and signal (93 mins)

myth. Cheryl Eddy the emergence of the Argentine New Wave’s latest

Written by Mark Bailey. Photographed by Buddy Squires. promising filmmaker. Jesse Dubus (97 mins) Written by Mumenthaler. Photographed by Martín Frias. With María Canale, Martina Juncadella, Ailín Salas, Julián Tello. (99 mins)

14 MAY & JUNE 2012 straight through the planet?—and pursues it to the and the scope of Johann’s spiritual connection to 5:40 Marina Abramovic: ends of the earth, traveling to four pairs of global the earth. While comparisons to Terrence Malick are The Artist Is Present opposites: Argentina and China; Russia and Chile; apt, Shank’s elegiac film is rooted in present-day Matthew Akers (U.S., 2011) Hawaii and Botswana; Spain and New Zealand. As economic (and emotional) realities that ultimately Marina Abramovic has been called “the grandmother of the soundtrack spills from one location to the next, turn an idealist into an outcast. Judy Bloch performance art,” although she’s as youthful as ever in the marvelously mobile camera performs barrel Written by Shank, Vincent Poymiro. Photographed by Matthew Akers’s fascinating, visually crisp documentary rolls and backflips that turn the world upside down. Hichame Alaouie, Antoine Parouty. With Vincent Rottiers, portrait, tracking Abramovic’s celebrated 2010 Museum Anaïs Demoustier, Florence Loiret Caille. (103 mins) Digital images are deftly spliced to bring opposing of Modern Art retrospective. The Serbian-born artist sides of the earth together, skylines mirrored across 9:00 made work in the 1970s concerning the limits and a common horizon: In Kossakovsky’s dizzy global In My Mother’s Arms conceptions of the body that have long since become Atia Jabarah al-Daradji, Mohamed Jabarah al- vision, opposites attract. Juliet Clark Daradji (Iraq/Netherlands/U.K., 2011) part of the modern art canon, yet she still continues to Photographed by Kossakovsky. (104 mins) Of all the consequences of the Iraq War, the tenuous athletically press at the boundaries of performance art. existence of thousands of young orphans is one of Marina Abramovic: The Artist Is Present confidently meets Tuesday / 5.1.12 the most heartbreaking. Between the dangers of life built-in challenges, giving the oft-reviled, ephemeral 6:30 Golden Slumbers on the streets and the brutal conditions of state-run medium of performance a sympathetic, mainstream Davy Chou (Cambodia/France, 2011) orphanages, this high-risk population has few options platform and humanizing a woman who defies age (Le sommeil d’or). This exceptional documentary for survival and a decidedly uncertain future. But in as easily as stereotypes. Glen Helfand summons the spirits of Cambodian cinema’s golden violence-ridden Baghdad, one determined man tries Photographed by Akers. (105 mins) age, which ended during the Khmer Rouge’s reign of to create a safe haven: an independent orphanage 8:15 terror between 1975 and 1979. Chou’s documentary with no government support, where thirty-two Iraqi Unfair World is a séance of sorts, summoning the spirits of films boys live, eat, play, sleep, and go to school together. Filippos Tsitos (Greece/Germany, 2011) past through the reminiscences of surviving film- It is a fragile ecosystem shielding them from a life of (Adikos kosmos). An honest cop with a strict moral makers and actors and, poignantly, through song. suffering and extreme danger. Joanne Parsont code attempts to uncover the truth behind a brutal Golden Slumbers boasts dozens of tracks from classic (86 mins) crime—and accidentally kills a man in the process. films—from buzzy psych rock to ornate pop—that Thursday / 5.3.12 From its opening image of a shabby, exhausted figure remain staples in Phnom Penh’s karaoke bars. Blending 6:30 draped over a lonely park bench, fighting to stay awake interviews with surviving filmmakers, classic songs, Meanwhile in Mamelodi in the dead of night, Filippo Tsitos’s prize-winning and poetic examinations of former movie palaces, Benjamin Kahlmeyer (Germany/South Africa, 2011) examination of moral exertion quickly establishes a Golden Slumbers is testament to the captivating Set against the raucous backdrop of the 2010 World tone of clinical precision and atmospheric stillness. power of art in the face of tragedy. Jonathan L. Knapp Cup, Meanwhile in Mamelodi is a beautifully crafted Part procedural potboiler, part character study, part portrait of a place and one family’s daily life inside Photographed by Thomas Favel. (96 mins) minimalist comedy, Unfair World quietly unravels it. The Mtsweni family lives in the Pretoria township a complex ethical puzzle of justice, forgiveness, 8:50 of Mamelodi, in the district known as Extension 11. OK, Enough, Goodbye. and human frailty that proves no good deed goes Rania Attieh, Daniel Garcia (Lebanon/United Arab Seventeen-year-old Mosquito contemplates her life unpunished. Landon Zakheim Emirates, 2010) and dreams, while her father prepares for cash-flush Written by Tsitos, Dora Masklavanou. Photographed by (Tayeb, khalas, yalla). A forty-something Lebanese tourists in town for the World Cup. As the Cup brings Polydefkis Kyrlidis. With Antonis Kafetzopoulos, Theodora pastry shop owner who looks like an escapee from new hope to the ravaged town, celebrations erupt Tzimou, Christos Stergioglou, Sofia Seirli. (108 mins) a Judd Apatow film and still lives with his mother is and spontaneous joy emerges from the most sober- Monday / 4.30.12 the unlikely protagonist of this marvelously crafted ing of circumstances. Extension 11 buzzes with the 6:30 deadpan comedy. After his mother skips town, he Pierre Rissient: drone of vuvuzelas, signaling a new South Africa Man of Cinema searches cluelessly for various maternal substitutes. has arrived. Sara Dosa Todd McCarthy (U.S., 2007) Filmmakers Rania Attieh and Daniel Garcia paint a Photographed by Stefan Neuberger. (75 mins) In Person 2012 Novikoff Awardee Pierre Rissient picture of the overgrown small town of Tripoli with an 8:40 A career-launcher at Cannes and uncompromising understated, documentary-like brush, revealing a town Last Call at the Oasis bereft of culture and filled with peevish, dissatisfied advocate for favorite films and new directors, Pierre Jessica Yu (U.S., 2011) characters. The directors’ astute attention to detail Rissient wields the kind of influence that lands an “Water is everything,” observes Erin Brockovich (the induces laughter of recognition and sympathy for unknown talent such as the young Jane Campion a slot real woman, not the Julia Roberts version), opening these endearingly dysfunctional residents. Miguel Pendás in the festival’s program. Passionate and charming, the new documentary from Oscar-winning filmmaker Rissient is beloved for his uncompromising attitude: Written by Attieh, Garcia. Photographed by Garcia. With Jessica Yu (Breathing Lessons: The Life and Work of Daniel Arzrouni, Nadimé Attieh, Walid Ayoubi. (91 mins) “It is not enough to like a film. You must like it for Mark O’Brien, SFIFF 1996). Last Call at the Oasis— the right reasons.” This casual, unabashedly affec- Wednesday / 5.2.12 inspired by Alex Prud’homme’s book The Ripple tionate documentary, filled with anecdotes from 6:30 Last Winter Effect: The Fate of Fresh Water in the Twenty-First Abbas Kiarostami, Clint Eastwood, Olivier Assayas, Century—offers interviews, sleek production values, John Shank (Belgium/France/Switzerland, 2011) and Quentin Tarantino, is an inspiring portrait of a and hard evidence to bolster an urgent message: (L’hiver dernier). In this starkly beautiful film, Johann unique character—and an illuminating peek at the inner The fresh, clean water that H O-hogging Americans (Vincent Rottiers) has inherited his father’s cattle 2 workings of the international film scene. Michael Fox take for granted will not last forever. This enthrall- farm, part of a rural collective in a mountainous area Photographed by Gary Graver, McCarthy. (110 mins) ing, entertaining, and ultimately sobering look at the of central France. A young misfit, Johann is a man world’s water crisis will make you think twice before 9:00 of few words, but we believe him when he says that ¡Vivan las antipodas! watering your lawn. Cheryl Eddy Victor Kossakovsky (Germany/Netherlands/ this land, this life, is who he is and all he has. In a few Argentina/Chile, 2011) swift strokes, director John Shank etches the intimacy Photographed by Jon Else. (105 mins) This captivating documentary takes a common musing—What would you see if you dug a hole

15 BAM / PFA FILMSFILMS & JUNE 2012 16 MAY 12/13/14 9/10/11 14. 13. 12. 11. 10. 9. @ BAM/PFA for updates. for check bampfa.berkeley.edu screenings— SFIFF at guests special other We anticipate

Found Memories World A Secret Dog Old Present Marina Abramovic: The Artist is Plate the to Up Step Arms Mother’s My In , 4.29.12 , 4.27.12 , , 4.29.12 , 4.26.12 , 4.29.12 , 5.2.12

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1. Workingman's Death, 5.5.12

2. Whores' Glory, 5.4.12

Afterimage: Films of Michael Glawogger 1/2

Friday / 5.4.12 9:00 Austrian filmmaker Michael Glawogger is best known for his 7:00 Kill Daddy Good Night Whores' Glory Michael Glawogger (Germany, 2009) loose trilogy of documentary essays that examine working life Michael Glawogger (Austria/Germany, 2011) Introduction Michael Glawogger in a global economy. Traversing the world, he documents the In Conversation Michael Glawogger and Dennis Lim In this story of converging lives, a man whose father struggles of everyday people to survive, often in miserable was killed by Nazis seeks to find his murderer and a conditions, yet is equally concerned with the condition of In his most recent film, Glawogger examines one Lithuanian involved in war crimes lives in hiding in New their spirit—a concern reflected also in his narrative films. To of the oldest trades, sex work, focusing on three York. A young Austrian nicknamed Ratz longs to kill elucidate these issues, Glawogger moves between fiction and brothels. In Bangkok, women sit behind glass; in his politician father, at least in the spiteful computer documentary; as he commented, “Every documentary is staged Bangladesh, they live in a sprawling compound; and in game he has designed, which allows others to per- to some degree. It’s all a matter of finding the right degree.” Mexico, along a desolate road. While a woman’s daily sonalize it with images of their own fathers. Dreams Glawogger, who studied filmmaking at the San Francisco Art experience may depend on who shows up with cash, of patricide are one way for Ratz’s generation to deal Institute and at the Vienna Film Academy, brings curiosity, for Glawogger, prostitution is also a window into the with the corruption and amorality of their parents humanity, and a beautiful formal aesthetic to his unique, way women and men interact in their varying cultures. and grandparents. When a former girlfriend invites contemporary city symphonies. Combining observational footage and interviews, Glawogger’s film is compassionate, powerful, and Ratz to come to the U.S. on a mysterious task, he We will screen a selection of Glawogger’s documentaries, nonjudgmental, yet it is also divisive, in part due to finds another. narratives, and experimental films and welcome him in person a graphic sex scene. Written by Glawogger, based on the novel by Josef each evening of our tribute for a series of conversations with Haslinger. Photographed by Atilla Boa. With Helmut Koep- (117 mins, In Thai, Bengali, Spanish, English, Japanese with ping, Sabine Timoteo, Ulrich Tukur. (112 mins, In German acclaimed New York critic and programmer Dennis Lim. Lim English subtitles, Color, 35mm, From Kino Lorber) with English subtitles, Color, Digibeta, From Corinth Films) contributes to the New York Times, the Los Angeles Times, Saturday / 5.5.12 Artforum, Cinema Scope, and other publications, and is edito- Sunday / 5.6.12 6:00 rial director at the Museum of the Moving Image, where he Workingman’s Death 7:30 Michael Glawogger (Austria/Germany, 2005) Megacities organizes film programs and edits the multimedia magazine Michael Glawogger (Austria, 1998) In Conversation Michael Glawogger Moving Image Source. In Conversation Michael Glawogger and Dennis Lim and Dennis Lim Michael Glawogger wonders if, in the digital age, Kathy Geritz, Film Curator Mexico City has grown so enormous that no one knows heavy manual labor is disappearing, or maybe just where it ends. Bombay’s population is so dense it becoming invisible. This megadirector offers portraits This presentation is part of our ongoing series Afterimage: Filmmakers can’t be counted. Michael Glawogger takes us deep of grueling work and fearless workers, allowing us and Critics in Conversation, which is made possible by generous funding into these and the other “megacities,” Moscow and from the Hollywood Foreign Press Association® and the continued sup- to reimagine what work is and what survival means New York, telling stories of people struggling at port of the BAM/PFA Trustees. With thanks to Dennis Lim, Rachel Rakes, in the twenty-first century, when it's every man for and David Schwartz at New York’s Museum of the Moving Image and to the bottom of the urban food chain. These are the himself, and God has replaced the state. Whether in the Austrian Cultural Forum for their help in making this series possible. working poor, with jobs that keep them and their illegal coal mines in Ukraine's Donets Basin, sulfur families barely alive. Using techniques [of] cinema Get More craters in Indonesia, Nigerian slaughter yards, or verité, Glawogger presents us with an unforgettable shipbreaking ports in Pakistan, Glawogger's camera Find expanded film notes and selected trailers at vision that is both epic in its scope and shockingly bampfa.berkeley.edu. is as unflinching as its subjects. Image making is work intimate in its details. Tod Booth made visible. Music by John Zorn is composed to the Don't miss a thing! Subscribe to our event calendar in Written by Glawogger. Photographed by Wolfgang Thaler. rhythms and spirit of each locale. iCal at bampfa.berkeley.edu/calendar. (90 mins, Color, 35mm, From Paul Thiltges Distributions) Please note: this film contains graphic scenes of animal slaughter. Preceded by Street Noise (Michael Glawogger, U.S., 1982). Written by Glawogger. Photographed by Wolfgang Thaler. New Print! A tour of Oakland’s San Pablo Avenue intercut with (122 mins, Color, 35mm, From Seventh Art Releasing) artists in a studio. (9 mins, Color, 35mm blowup from 16mm, From the Austrian Film Museum Preceded by Haiku (Michael Glawogger, Austria, 1987). A short visual poem. (3 mins, Color, 35mm, From the Aus- trian Film Museum) 17 BAM / PFA 1/2 S I LM F Film & Video Peter Greenaway: Makers Cinema & Painting at Cal Friday / 6.8.12 7:00 Sunday / 5.6.12 The influence of painting, particularly of the Rembrandt’s J’Accuse 5:00 Peter Greenaway (U.K./Netherlands, 2008) Works from the Eisner Renaissance and Baroque periods, is readily “Just because you have eyes does not mean you Prize Competition evident in British filmmaker Peter Greenaway’s (2009–12) student pick! can see,” challenges the great director-contrarian distinctive films—in their lush colors and dra- In Person Student Filmmakers Peter Greenaway in this cine-essay, which reveals matic lighting, choreographed tableaux, and The Eisner Prize is the highest award for creativity given on the mysteries hidden in plain sight in one of the most concern with architecture and costume. In the UC Berkeley campus. This program presents work by this famous paintings of all time, Rembrandt’s The Night 2006, he undertook to extend his dialogue year’s winners in film and video, Rebecca Ramage and Rodrigo Watch. Where most see only a great work of art, between the language of cinema and that Ojeda-Beck, along with a diverse sampling of videos from the Greenaway dissects the Dutch masterpiece to uncover of painting through an ambitious project of competition—narratives, documentaries, experimental videos, an indictment, a conspiracy, and a murder mystery video installations entitled Nine Classic Paint- and animations. A program with written descriptions by the sweeping across the ruling elites of Amsterdam’s ings Revisited, and to date has interpreted artists will be available at the screening. This year’s judges Golden Age. With actors (including Martin Freeman such works as Leonardo da Vinci’s The Last were UC Berkeley staff and faculty Mark Berger, Kathy Geritz, of British TV’s The Office) restaging certain scenes Supper and Paolo Veronese’s Wedding At Eileen Jones, Mira Kopell, and Gavriel Moses. Thanks to Jimmy and Greenaway’s clever intellectual side notes and Cana. But Greenaway first turned his attention Ausemus, prizes and honors coordinator. diversions, Rembrandt’s J’Accuse will change how to Rembrandt’s The Night Watch (1642), and, remains Nathaniel Klein, 2011, 5:30 mins, Color, DVD, From the artist you view art, and the world. Jason Sanders in addition to a video installation, created two New College Hill Market Kari Orvik, 2011, 7 mins, Color, DVD, From films exploring the Dutch master’s most famous Written by Greenaway. Photographed by Reinier van Brum- the artist melen. With Greenaway, Martin Freeman, Emily Holmes, The Santan Cause Kyan Krumdieck, U.S./New Zealand, 2011, 13 mins, painting. You’ll want to take note of Greenaway’s Eva Birthistle. (90 mins, Color, 35mm, From Content Media Color, DVD, From the artist Corporation) speculative art history lessons. He elucidates A Day in the Life of India Aayushman Indra Pandey, India, 2011, 1 min, the puzzles and mysteries embedded in the Color, DVD, From the artist Saturday / 6.9.12 Three Penny Myles Moscato, 2011, 5 mins, Color, DVD, From the artist painting and its enigmatic iconography with 6:00 wit and intelligence. Nightwatching Four Elements Alter Max Tarcher, 2012, 1:15 mins, Color, DVD, From Peter Greenaway (U.K./Netherlands/Poland/ the artist Kathy Geritz, Film Curator Canada, 2007) Dancing with the Moon Nancy Ledesma, 2012, 40 secs, Silent, Color, Nightwatching, Greenaway’s fictional foray into DVD, From the artist Phantom Ride Rodrigo Ojeda-Beck, 2011, 5:30 mins, Color, Digibeta, art-history detecting, was made a year before the With thanks to John Ewing for his assistance in From the artist more spare Rembrandt’s J’Accuse and focuses on the arranging to bring these prints to the U.S. Abigale Rodrigo Ojeda-Beck, Robert Machoian, 2011, 15 mins, Color, painter himself, played with gusto by Martin Free- Digibeta, From the artists moitié Rebecca Ramage, 2011, 9 mins, Color, DVD, From the artist Get More man. Shifting between Rembrandt’s relations with Making Lines Rebecca Ramage, 2009, 6 mins, Color, DVD, From the artist three women—his wife, model, and servant—and the Watch trailers on our website, Total running time: c. 70 mins bampfa.berkeley.edu. complications that arise when he accepts a commission to paint a group portrait, Nightwatching uses a series Sign up for our weekly film update at of elegant tableaux to dramatize two mysteries—that bampfa.berkeley.edu/signup. of Rembrandt’s life, of which little is known, and that of the iconography of his famous painting The Night Watch. Intertwining it all is a murder.

Written by Greenaway. Photographed by Reinier van 1. Rembrandt’s J’Accuse, 6.8.12 Brummelen. With Martin Freeman, Eva Birthistle, Jodhi May, Emily Holmes. (134 mins, Color, 35mm, From Content 2. moitié, 5.6.12 Media Corporation)

18 MAY & JUNE 2012 Afterimage: Three Nights with Nathaniel Dorsky 1/2

Sunday/ 6.10.12 7:30 There is the world that we see, and then there is the world that artists like Mr. Dorsky see and Films of Nathaniel Dorsky: generously share.—Manohla Dargis, New York Times Recent Films Nathaniel Dorsky (U.S., 2010–12) Filmmakers who create nonnarrative cinema often link their work to other arts, drawing In Conversation Nathaniel Dorsky and Mark McElhatten on musical rhythms, a painterly style, or poetic phrasings. They may explore film-specific August and After 2012, 18:30 mins, Silent, Color, 16mm, From the artist properties, creating a cinema of surprise and originality. Local filmmaker Nathaniel Dorsky’s The Return 2011, 27 mins, Silent, Color, 16mm, PFA Collection unique, exhilarating 16mm films relish in the possibilities of image making—to borrow his Pastourelle 2010, 16:30 mins, Silent, Color, 16mm, PFA Collection concept, they obey cinema’s own materiality. Or, as Paul Arthur observed, “A formalist with Total running time: 62 mins a brimming, elegiac soul, Dorsky will gently rock your attitude toward cinematic landscape. Sunday / 6.17.12 His world is a sublime mystery measured by patience and unmatched visual insight.” 7:30 Films of Nathaniel Dorsky: In his beautiful, compact book, Devotional Cinema, Dorsky discusses, “shots and cuts,” the Quartet and elucidates how, working together, images and edits can “unite the viewer to what is Nathaniel Dorsky (U.S., 2008–10) seen.” Dorsky’s films are purposefully silent, projected at the slower speed of silent cinema; In Person Nathaniel Dorsky nothing distracts from our being in the moment of seeing. He often carries his camera, a Sarabande 2008, 15 mins, Silent, Color, 16mm, PFA Collection 16mm Bolex, with him; his imagery is of the everyday world, both city life and nature. Yet, Compline 2010, 18:30 mins, Silent, Color, 16mm, PFA Collection his shots are often mysterious, ambiguous, equally “about” what he sees as how he sees it. Aubade 2010, 11:30 mins, Silent, Color, 16mm, PFA Collection A store window is a collage of objects and reflections. The focus on a tree overflowing with Winter 2008, 21:30 mins, Silent, Color, 16mm, PFA Collection Total running time: c. 67 mins blossoms shifts, and becomes a swirl of abstract colors. Thus we move from one shot to the next, continually reawakening to the poetry of the visuals. As Dorsky’s titles—Threnody, Sunday / 6.24.12 Compline, Pastourelle—suggest, his films are songs, poems, prayers, dances, expressing his 7:30 Films of Nathaniel Dorsky: devotion to the world and to cinema. Devotional Songs Nathaniel Dorsky (U.S., 2004–12) As part of our ongoing series Afterimage: Filmmakers and Critics in Conversation, we are In Person Nathaniel Dorsky delighted that Nathaniel Dorsky will be joined by renowned curator Mark McElhatten to discuss Song and Solitude 2006, 21 mins, Silent, Color, 16mm, PFA Collection his films following the screening on Sunday, June 10. McElhatten has been programming Threnody 2004, 25 mins, Silent, Color, 16mm, PFA Collection films and videos since 1977; he is founder and coprogrammer of the annual Views from the The Visitation 2012, 18 mins, Silent, Color, 16mm, PFA Collection Avant-Garde at the New York Film Festival, and founder of the Walking Picture Palace and the Total running time: 64 mins upcoming festival Cinema Atlantis. He has been film archivist for Martin Scorsese since 1998.

Kathy Geritz, Film Curator

This presentation is part of our ongoing series Afterimage: Filmmakers and Critics in Conversation, which is made possible by generous funding from the Hollywood Foreign Press Association® and the continued support of the BAM/PFA Trustees.

Get More Learn more about Nathaniel Dorsky at collectedonlinesongsaboutnathanieldorsky.posterous.com 1. Pastourelle, 6.10.12

2. Sarabande, 6.17.12

19 BAM / PFA FILMSFILMS Gent A Greg Steve Seid, Steve Seid, gentleman. agreeable most a with films eight for us Join causes. to social commitment his for Freedom of Medal Presidential the of recipient the was and once, winning Awards, Academy five for his staunch concern for principled filmmaking. Peck was nominated and man the and actor the both of integrity deep-flowing the ran reluctant romantic of Roman Holiday the Bradley, Joe or aMockingbird, To of Kill Finch Atticus steadfast dogged company Hill commander Chop in Pork Sun the in Duel in sibling lusty the Lewt, be could He versatility. appealing an was reserve Peck’s within But baritone. honeyed arich, voice, distinctive his enduring, and bampfa.berkeley.edu. website, our on trailers selected and notes film expanded Find and Cary like figure iconic an beyond, and fifties and forties the G films. fifty over spanned Jacques Tourneur’s G to be soon Eldred, that predicted have would coach theater prescient his of outside Few Theater. Little student-sponsored Cal’s in roles ing support in even to miss hard was and 6'3", stood features, carven gently had major English soft-spoken The stage. on forth holding Peck, Eldred one student, stately arather across come might you Berkeley, UC at campus on were you and 1938 were this If & JUNE 2012 20 MAY Get Get More G n Ag n ary Cooper. His style was reserved—he seemed stalwart stalwart seemed reserved—he was style His Cooper. ary V regory, would surface a few years later as the lead in in lead the as later years afew surface would regory, ideo Curator ideo and continue with a career that that a career with continue and Glory of Days l ory P ory regory Peck became a signature actor of of actor asignature became Peck regory reea em . Y et beneath each character , or Lt. Joe Clemons, the the Clemons, Joe Lt. , or an . He could be the the be could . He eck bl G e e rant rant - : :

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o n S O anders 7:00 7:00 8:50 8:50 scar L P S Paramount Pictures) R Alekan. With Audrey Hepburn, Eddie Albert, Margaret by Dalton Trumbo. Photographed by Frank F. Planer, Henri a story from Dighton, John Hunter, McLellan Ian by Written endings. happy have tales fairy all not and temporary, are holidays that tender by turns, Peck conveys the understanding and cynical is that aperformance In melancholy. of Holiday location, on entirely Shot other. each for ings feel growing their conceal can’t they but identities, respective their to hide try hack and princess hands; his on ascoop has he realizes and up, her picks G reporter American life. “ordinary” of enchantment the for opulence fairy-tale trading R in incognito to go decides Hepburn Audrey Y likes.” one what always isn’t “Life moral: unexpected an with story Cinderella A backwards W Rom Circus) Park From 35mm, B&W, mins, (97 G Marshall.A. Photographed by Sam Leavitt. With Harry James by Written futility. of face the in to persistence but to heroism not a monument is film the reality, battlefield and strategy between relationship the of assessment brutal and A blunt Y out. it to figure trying use no “There’s men, his of one tells Peck unwavering Y hill.” little “insignificant an call negotiators the what of defense in decimated be will company his command, central from off cut and outnumbered, Exposed, Hill. Chop Pork to attack truce, an American lieutenant (Peck) receives orders a negotiate to gather officials while 1953: Korea, M ewis awlings, Hartley Power. (118 mins, B&W, 35mm, From From 35mm, B&W, mins, (118 Power. Hartley awlings, uardino, atur Wy illiam ork an an tempers its touristic pleasures with a note anote with pleasures touristic its tempers ilest d Chop R ay ip Torn, le / 6.16.12 / H on r (U.S., 1953) r (U.S., ol (U.S., 1959) 1959) e (U.S., R . Webb, based on a book by S. L. L. S. by a book on based . Webb, G H eorge Peppard, iday J ul i ll ou just have to keep on going.” going.” on to keep have just ou J iet ul C

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Thursday / 6.21.12 Wednesday / 6.27.12 1. The Man in the Gray 7:00 7:00 The Man in the Gray Flannel Suit Duel in the Sun Flannel Suit, 6.21.12 Nunnally Johnson (U.S., 1956) King Vidor (U.S., 1946) Restored Print! 2. Arabesque, 6.29.12 One of the key influences on the AMC seriesMad Men, this finely tuned Ablaze with Technicolor passions, Duel in the Sun is a delirious testament 3. The Keys of the Kingdom, Gregory Peck drama was one of the first postwar Hollywood dramas to inexplicable obsession, both on- and off-screen. Producer David 6.13.12 to expose the emptiness of seemingly successful white-collar lives. O. Selznick constructed the picture as a shrine—or sacrificial altar—to 4. Pork Chop Hill, 6.16.12 A former GI whose wartime exploits (and romances) in Italy pale in his personal love idol Jennifer Jones, who stars as sultry “half-breed” comparison to his current life spent schlepping from his Connecticut Pearl Chavez. Peck is cruelly self-contained and ultimately explosive home to his Madison Avenue offices, copywriter Tom Rath (Peck) finally as Lewt, a rich rancher’s son whose attentions reduce the proud Pearl gets a shot at the big time, but at the possible expense of his family to a debased creature dragging herself across the (literally) painted life. “He possesses the humble, stolid valor that one associates with desert. Mocked as “Lust in the Dust” and revered by the likes of Martin

Gregory Peck,” noted the New York Times in its 1956 review. Jason Sanders Scorsese, Duel inhabits a border zone between artistic ambition and

Written by Johnson, from the novel by Sloan Wilson. Photographed by Charles exploitation, sleaze and sincere madness. Juliet Clark G. Smith. With Jennifer Jones, Fredric March, Marisa Pavani, Lee J. Cobb. (152 Written by David O. Selznick, Oliver H. P. Garrett, suggested by the novel by mins, Color, 35mm, ‘Scope, From Criterion/Twentieth-Century Fox) Niven Busch. Photographed by Lee Garmes, Harold Rosson, Ray Rennahan. With Jennifer Jones, Joseph Cotton, Lionel Barrymore, Lillian Gish. (144 mins, Color, Sunday / 6.24.12 35mm, From Buena Vista) 4:45 To Kill a Mockingbird Friday / 6.29.12 Robert Mulligan (U.S., 1962) New Print! student pick! 7:00 Introduction Michael Butler Arabesque Stanley Donen (U.S., 1966) Butler is artistic director of Walnut Creek’s Center REPertory Company, which recently staged a production of the Harper Lee story. Stanley Donen’s follow-up to the successful Charade replaces that film’s Cary Grant-and-Audrey Hepburn pairing with an even more Like Harper Lee’s novel on which it is based, To Kill a Mockingbird is glamorous, handsome pair—Gregory Peck and Sophia Loren—all while rooted in the America of the early 1960s, with its gathering struggle for amping up the globe-trotting intrigue, Dior fashions, and big-budget civil rights, yet the film’s message of tolerance—told from the point of spectacle. A finely cheekboned hieroglyphics expert (Peck) winds up view of a child, yet never childish—hasn’t grown old. In pristine black in the middle of an international plot, and is soon on the run with a and white, the adaptation skillfully captures both the quiet rhythms of mysterious femme fatale (Loren). It’s not the plot that matters, though, small-town Southern life in the 1930s and the currents of racial violence but the style, whether found in Loren’s fabulous wardrobe, Donen’s beneath the surface. Gregory Peck won an Oscar for his portrayal of keep-it-moving choreography, or the hectic Pop-Art camera style. courageous lawyer Atticus Finch, Mary Badham beautifully plays his “Everything was shot as though it were a reflection in a Rolls-Royce daughter Scout, and Robert Duvall makes his debut as mysterious headlamp,” memorably recalled one cowriter. Jason Sanders recluse Boo Radley. Written by Pierre Marton, Julian Mitchell, and Stanley Price, from the novel Written by Horton Foote, from the novel by Harper Lee. Photographed by The Cipher by Alex Gordon. Photographed by Christopher Challis. With Sophia Russell Harlan. With Mary Badham, Philip Alford, Brock Peters, Robert Duvall. Loren, Alan Badel, Kieron Moore, John Merivale. (105 mins, Color, 35mm, From (125 mins, B&W, 35mm, From Universal) Universal Pictures)

21 BAM / PFA 1/2 1. Rick, 6.22.12

2. Maladies, 6.22.12 S

I LM Behind the Scenes: F the art and craft of cinema Editor Curtiss

Clayton Wednesday / 6.20.12 Friday / 6.22.12 7:00 7:00 Film editing is the slyest craft. In accordance with the traditional Curtiss Clayton Rick approach, the best editing is the least visible. The cinematic world on Film Editing Curtiss Clayton (U.S., 2003) before our eyes should appear organic, stitched from a visual In this special lecture, editor Curtiss Clayton shares In person Curtiss Clayton language we mistake for our own. Piecing together disparate his thoughts on the art and craft of film editing, Bill Pullman plays the titular Rick O’Lette, a corporate shots, the editor creates a seamless whole with subtle shifts in illustrating them with sequences from Van Sant’s functionary at Image Corp., which sells nothing but pacing and mood that call attention to anything but themselves. To Die For, starring Nicole Kidman and Matt Dillon. its willingness to sell anything. After a humiliated job As a consequence, the most effective editing is self-effacing. To We’ll see alternative cuts of scenes demonstrating seeker (Sandra Oh) puts a “Chinese” curse on him, highlight this overlooked art, we’ve called upon Curtiss Clayton, an how Clayton and Van Sant sought multiple edito- Rick’s life begins to quickly collapse—a fall handily editor best known for his work on character-driven independent rial rhythms and compositions, until a stylish syntax dispatched by hit-man Buck (Dylan Baker). Writer features, especially those of Gus Van Sant. Among his notable emerged that supported the film’s satiric and tabloid- Daniel Handler, creator of the darkly comic Lemony accomplishments are Drugstore Cowboy, The Glass Shield, Buffalo like deportment. Clayton concludes his talk with a Snicket children’s series, raided Verdi’s Rigoletto ’66, Brokedown Palace, The Assassination of Jesse James by the question-and-answer session with the audience and for the plot, but here those exposed to a series of Coward Robert Ford, and, most recently, Henry’s Crime. Clayton then a complete screening of To Die For beginning unfortunate events certainly had it coming. First-time will share with us the subtleties of an editor’s working method and at about 8:30. director Curtiss Clayton’s stark satire is bound tightly

how any given film holds within it an infinite number of recombinant Followed by: in a dark surrealism, keeping his isolated denizens in possibilities—what we see in a consummate film is its most elegant To Die For a dim culture lit only by greed and ambition. Steve Seid Gus Van Sant (U.S., 1995) and expressive final form. How you arrive at that decisive form while Written by Daniel Handler. Photographed by Lisa Rinzler. synthesizing the contributions of the director, the cinematographer, Introduction Curtiss Clayton With Bill Pullman, Sandra Oh, Agnes Bruckner, Aaron Stanford. (100 mins, Color, 35mm, From the artist) and the sound and production teams is at the very crux of that To Die For is a sly, sardonic, and sassy exposé of collective effort we call cinema. America’s obsession with fame. As the weather girl 9:20 on a backwater cable show, Suzanne Stone (Nicole Maladies Curtiss Clayton takes us behind the scenes of the editor’s art on Carter (U.S., 2012) Kidman) is a pert siren of alarming aspiration. At Wednesday, June 20, and follows up with a Friday screening of his Special work-in-progress screening of new once small-town cute and big-time cutthroat, Kidman directorial debut, Rick (2003), as well as a very special work-in- James Franco film! captures blonde ambition with caustic precision. To progress screening of his newest editing effort, Carter’sMaladies In person Curtiss Clayton head for celebrity central, Stone must cut her losses, (2012), starring James Franco. On Thursday, June 21, the San Francisco Tonight we’ll see the final stages of Carter’s first a dead-weight husband (Matt Dillon). Her arsenal: Film Society will host a master class with Clayton. full-blown feature, Maladies, starring James Franco a dimwitted teenager (Joaquin Phoenix) who’ll do as a soap opera star who retires at a young age due Steve Seid, Video Curator anything for the lady with the shapely weather map. to a mental illness. Now living in a Grey Gardens–style Buck Henry’s darkly comic screenplay indicts our mansion on Long Island with his deranged sister murderous meteorologist, but also glowers at her Behind the Scenes is a collaboration between BAM/PFA and (Fallon Goodson) and his best friend , a cross-dressing the San Francisco Film Society. Major support for Behind the jury of peers. “What’s the point of doing anything artist played by Catherine Keener, we watch as their Scenes is provided by the National Endowment for the Arts. worthwhile if people aren’t watching?” Steve Seid The program is also made possible in part by the continued maladies mingle and mesh. Rumor has it that J. Ralph, Written by Buck Henry, based on a novel by Joyce Maynard. contributions of the BAM/PFA Trustees Photographed by Eric Alan Edwards. With Nicole Kidman, a.k.a. SPY, has composed the score for this newest Matt Dillon, Joaquin Phoenix, Illeana Douglas. (103 mins, work edited by master cutter Curtiss Clayton. Color, 35mm, From Sony Pictures) Get More Written by Carter. Photographed by Doug Chamberlain. Learn more about Curtiss Clayton’s San Francisco Film Society With James Franco, Catherine Keener, David Strathairn, Fallon Goodson. (c. 100 mins, From Voltage Pictures) master class at sffs.org.

22 MAY & JUNE 2012 From the Collection

Friday / 6.8.12 8:50 Trailer Trash: A Mini-Movie Extravaganza Why wade through an entire feature film when a crisply condensed version can save you time and trouble? Ninety minutes compressed to a pithy two or three—that’s a compression scheme to be admired. We’re talking trailers: abbreviated spectacles filled with thunderous scores, thrills and spills galore, and a cast of, at least, thousands. And those stentorian voices booming with blustery convic- tion: “A Love That Knows No Bounds,” “In a Land Where Passion Reigns,” “All the Emotions of a LIFETIME!” We’ve handpicked over forty of these compact come-ons for your viewing pleasure. Stupendous. Unleashed. A Night

to Remember. Steve Seid

Total running time: 100 mins

Special thanks to Jon Shibata, Film Collection Department; intern Stefano Boni; and Gary Meyer. All trailers from PFA Collection.

Thursday / 6.14.12 7:30 Gothic Tribute to Ken Russell (U.K., 1986) Live Music Brale

Brale (Bruce Anderson, Gregory Hagan, Dale Sophiea), Ken Russell the world’s only Ken Russell tribute band, will play a brief set before the screening (1927–2011) From his first feature, French Dressing, in 1964 until his death last year, Ken Russell released a seductive string of flamboyant films that strip bare sexuality, the horrorific, and creativity itself. Extravagantly excessive, Gothic takes us inside the country estate where in 1816 Lord Byron (Gabriel Byrne), Mary Shelley, and poet/partner Percy Bysshe Shelley (Julian Sands) agonizingly birth the monster to be called Frankenstein. Percy and Mary (Natasha Richardson in debut) are the haunted parents of a stillborn child whose form is revivified in the gothic creature to come. This is Ken Russell in all his untamed

grandiosity, one of the great purple pros. Steve Seid

Written by Stephen Volk. Photographed by Mike Southon. With Julian Sands, Natasha Richardson, Gabriel Byrne, Timothy Spall. (87 mins, Color, 35mm, PFA Collection, permission Lions Gate Films)

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 23 BAM / PFA S I LM F

One-Two Punch: Pulp Writers Dorothy B. Hughes Mickey Spillane Elmore Leonard 1

Saturday / 6.23.12 6:30 In this second round of One-Two Punch, several great pulp contenders duke In a Lonely Place it out for supremacy, namely Dorothy B. Hughes, Mickey Spillane, and Elmore Nicholas Ray (U.S., 1950) Leonard. But being this is an exhibition match, these wordsters fight solo, In Andrew Solt’s terrific adaptation of Dorothy B. Hughes’s most patho- displaying just their offensive style. A heavyweight in a skirt, Dorothy B. logical novel, Dix Steele (Humphrey Bogart as good as he gets) is a Hughes has fourteen winning bouts to her name, the earliest, The So Blue faltering Hollywood scriptwriter with anger management problems, Marble, from 1940. Her style favors the complex attack rather than burly not a serial killer as originally penned. When a coat-check girl is found brute force. Next in the ring is the unbeatable Mickey Spillane, titleholder brutally murdered, Dix becomes a prime suspect, prodding his worst from the fifties. With over two dozen TKOs, Spillane seems invulnerable; impulses to violently surface. At the same time, he falls deeply for though his style can be flat-footed and coarse, he has a secret weapon, the his neighbor, the leafy Laurel Gray (Gloria Grahame). Whether Dix is Hammer, the Mike Hammer. Closing the card is Elmore Leonard, a versatile, a murderer or not falls away and what Laurel is left pondering is that graceful slugger who can talk his way out of a corner. He has a change-up lonely place where Dix’s rage quietly stirs. Steve Seid

style using both a western swing and a more urban uppercut. For this match, Written by Andrew Solt, based on the novel by Dorothy B. Hughes, adapted by we’ve allowed Leonard to use “Stick,” one of his punchier combinations. Three Edmund H. North. Photographed by Burnett Guffey. With Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Art Smith. (94 mins, B&W, 35mm, From Sony potential winners—you be the judge. Pictures)

Steve Seid, Video Curator 8:30 Fallen Sparrow Richard Wallace (U.S., 1943) Get More Dorothy B. Hughes was a master of the tangled tale laced with deception, Find expanded film notes and selected trailers on our website, fear, and mayhem. In Fallen Sparrow, the Spanish Civil War has ended bampfa.berkeley.edu. and Kit McKittrick (John Garfield) is out West recuperating from two years of torture in a Franco prison camp. When the news of a friend’s Subscribe to our events calendar in iCal at bampfa.berkeley.edu/calendar. death forces his return to New York City, Kit enters into an intrigue freighted with Nazi sympathizers (Walter Slezak), a nightclub singer (Maureen O’Hara), a military battle flag, and a torturer named “Wob- blyfoot.” But perhaps the essential foe in this beautifully shot thriller is post-traumatic stress disorder. “In a world at war many sparrows must

fall,” begins this tense adaptation—and then it takes flight. Steve Seid

Written by Warren Duff, based on the novel by Dorothy B. Hughes. Photo- graphed by Nicholas Musuraca. With John Garfield, Maureen O’Hara, Walter Slezak, Hugh Beaumont. (91 mins, B&W, 35mm, From Warner Bros.)

24 MAY & JUNE 2012 1. In a Loney Place, 6.23.12

2. Valdez Is Coming, 6.30.12

3. My Gun Is Quick, 6.28.12

2 3

Thursday / 6.28.12 Saturday / 6.30.12 7:00 6:30 My Gun Is Quick Stick George A. White (U.S., 1957) Burt Reynolds (U.S., 1985) Mickey Spillane’s books were spicy, hard, and violent, and through Following on Cannonball Run 2 and Smokey and the Bandit 3, Burt their recidivist hardboiled hero, Mike Hammer, they were a black eye Reynolds snagged Elmore Leonard to adapt his novel Stick for the on the face of fifties optimism. The first scene ofMy Gun is Quick says screen. It’s the perfect vehicle for a director apt to commit vehicular it all: in a Hollywood hash joint, Hammer (Robert Bray) strikes up a manslaughter with a lesser script. Lean and upright, Reynolds gets conversation with a down-and-out dame—a few hours later, she’s the Ernest “Stick” Stickley shtick just right: the evasive banter, the dead. The reason for her unwarranted demise takes Hammer across nonchalant swagger, the barbed humor. An ex-con, Stick blows into a well-worn L.A. of strip joints, oil derricks, and cold-water walk-ups. his hometown of Miami looking for a new start amidst the dangerous Down at the harbor the voluptuous Patricia Donahue asks: “Can you Deco. Elmore Leonard spices up the Floridian fantasy with kidnapping,

handle a boat?” “I can handle anything.” It’s Hammer time. Steve Seid Santeria, balcony dives, scorpions, and Candice Bergen as the world’s

Written by Richard Collins, Richard Powell, adapted by Powell from the novel by most beautiful financial advisor. Steve Seid Mickey Spillane. Photographed by Harry Neumann. With Robert Bray, Whitney Written by Elmore Leonard, Joseph C. Stinson, from the novel by Leonard. Blake, Don Randolph, Richard Garland. (88 mins, B&W, ‘Scope, From Park Circus) Photographed by Nick McLean. With Reynolds, Candice Bergen, George Segal, Charles Durning. (109 mins, Color, 35mm, From Universal Pictures) 8:50 The Girl Hunters 8:40 Roy Rowland (U.K., 1963) Valdez Is Coming If you want it done right, do it yourself. Cowriting the script is one thing, Edwin Sherin (U.S., 1971) but with this British-born brawler, Spillane takes on the lead character, Edwin Sherin’s adaptation of Elmore Leonard’s Valdez is Coming ropes playing iconic Mike Hammer his way. We find husky Hammer in an Burt Lancaster into the part of Bob Valdez, a conscientious constable alley, “a dirty, lousy slob.” A case has gone wrong, Velda, his trusted who watches over “the Mexican American side of town.” When a black secretary is presumed dead, and Mike finds his only solace bobbing in deserter is mistakenly killed, Valdez wants trigger-happy Frank Tanner booze. Then a dying man tells the down-and-out dick that “The Dragon,” (Jon Cypher), a local rancid rancher, to cough up a hundred bucks head of a commie spy ring, has Velda, alive. Good shall prevail, Velda for the dead man’s widow. After Tanner’s men literally crucify him, shall return, and as the name implies, Mickey is a knockout. Steve Seid Valdez, a man of few words but many convictions, sets out to get that

Written by Rowland, Mickey Spillane, Robert Fellows, from the novel by Spillane. C-note at any cost. “I should have killed you three days ago,” says the Photographed by Kenneth Talbot. With Spillane, Shirley Eaton, Lloyd Nolan, cowering ringleader. “Or paid the hundred bucks,” replies the buckskin Hy Gardner. (103 mins, B&W, 35mm, ‘Scope, From UCLA Film and Television Archives) bill collector. Steve Seid Written by Roland Kibbee, David Rayfiel, from the novel by Elmore Leonard. With Burt Lancaster, Susan Clark, Hector Elizondo, Richard Jordan. (90 mins, Color, 35mm, From Park Circus)

25 BAM / PFA FILMSFILMS T & JUNE 2012 26 MAY C N ch Cze loan of these prints. these of loan 3. 2. 1. Karel Zima, Czech Susan by organized Series appeared. first they when as today eye-opening these experimental narratives that remain as N Czech fellow her by film athird and Chytilová, innovative filmmakersfrom the V 1960s, most Europe’s of one by films two to see chance N Czech the from format 35mm in circulating classics of A trio ew Wave director Jaromil Jires. Join us for for us Join Jires. Jaromil ew Wave director hree hree l ew W ew Daisies 6.29.12 Wonders, of Week Her and Valerie Fruit of Paradise c assi , 6.9.12 N ational Archives, Prague, for the ational Archives offers a rare rare a offers Archives ational , 6.15.12 O xtoby. We wish to thank thank to We wish xtoby. ave ave

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- - 2 1 GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS BAM/PFA FOR FREE ALWAYS GALLERIES Eric Eric Charles Kremer W Joan Roebuck James B. Pick Ann Baxter Perrin V Professor George Gund Jane Green Daniel Goldstine Professor Professor Scott Crocker Carla Crane Penelope M. Cooper Coates M. Catherine Jon Burgstone Bruce Tecoah Dean Jack L. Paul Swig C. Roselyne Robert Harshorn Shimshak Richard J. J. Richard A Scott McDonald Professor BAM/PFA ASUC C Bechtle R. Joachim Addis Steven Lawrence Rinder, Nellis, Noel Simpson, Barclay Executive Executive Rena Bransten B hancellor ice Provost ice ssistant Professor anda M. Kownacki A George Breslauer Alex Sizemore-Smale M/ X Jennifer W President . Li P endler W F Student Committee Chair Harrison Fraker, Jr. Fraker, Harrison Edelstein H. Robert Christina Maslach attis attis V Board o A Board Shannon Jackson Robert J. Birgeneau O ice Chancellor and Provost and Chancellor ice President lsen lsen Catherine P. Koshland III III W V olch ishalli Loomba Chair Director Nicholas de Monchaux f T rustees

27 BAM / PFA 27 BAM

MEMBERSHIP 2012 CALENDARCALENDARm & JUNE 2012 28 MAY ay ay 21 28 14 May 7 through June 7 June 7 through May from closed is PFA Theater The

a workingman mon 7 n d y wa r h o l ' s p death o la ro

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. 15 23 9 30 16 7:30 7:00 6:30 5:30 9:00 6:30 nightwatching 2 Brazil David and Stein Suzanne Protest In Talks Artists’ Mind of State Celebration Brainard Joe of Writings Arms Mother’s My In Last Winter / w w w ed (ED)n (ED)n

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(ED)n p SFIFF w esda esda (ED)n y p esda y . 15 esda p . 9 . 9 p SFIFF G y p allery allery y p . 9 . 9 . 15 3/thr 4/fri 5/sat 6/sun 12:15 guided Tour State of Mind p. 9 7:00 Whores' Glory 6:00 Workingman’s Death 1:00 Member Meetup Michael Glawogger in Michael Glawogger in BAM/PFA Book Club p. 27 6:30 Meanwhile in conversation with Dennis Lim conversation with Dennis Lim Mamelodi SFIFF p. 15 2:00 guided Tour State of Mind p. 9 Glawogger p. 17 Glawogger p. 17 8:40 Last Call at the Oasis 5:00 Eisner Prize 9:00 Kill Daddy Good Night SFIFF p. 15 Artists in person Film and Introduced by Michael Video Makers at Cal p. 18 Free First Thursday Glawogger Glawogger p. 17 Galleries free all day 7:30 Megacities Michael Glawogger in conversation with Dennis Lim Glawogger p. 17

Sun Works Closes p. 7 10 11 12 13 12:15 guided Tour State of Mind p. 9 5:30 Lara Durback RE@DS p. 9 2:00 guided Tour State of Mind p. 9

6:30 Artists’ Gallery Talk State of Mind p. 9

6:30 Peter Selz and Paul Karlstrom p. 9

7:30 Eleanor Antin L@TE p. 3

12:15 guided Tour State of Mind p. 9

17 18 19 20 12:15 guided Tour State of Mind p. 9 5:00 gallery Talk: Xiaoyu Weng p. 9 2:00 guided Tour State of Mind p. 9

6:00 M.F.A. Exhibition Opening 3:00 Artists’ Talks M.F.A. p. 9 Celebration Member Event p. 27 Warhol: Polaroids Closes p. 7 M.F.A. Graduate Exhibition Opens p. 4 Bob Box Archive Closes p. 7

24 25 26 27 12:15 guided Tour State of Mind p. 9 7:30 Lou Harrison’s La Koro Sutro L@TE p. 3

31

state of mind p. 6

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 29 BAM / PFA fallen

2012 CALENDARCALENDARjune & JUNE 2012 30 MAY sparrow

. 24 p. 18 25 mon 11 4 for die to to kill a mockingbird . 22 p.

. 21 p. 19 26 tue 12

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thr 1/fri 2/sat 3/sun 2:00 guided Tour State of Mind p. 9

state of mind p. 6 7 8 9 10 12:15 guided Tour State of Mind p. 9 7:00 Rembrandt’s J’Accuse 6:00 Nightwatching 7:30 Recent Films Greenaway p. 18 Greenaway p. 18 Nathaniel Dorsky and Mark Free First Thursday McElhatten in conversation Galleries free all day 8:50 Trailer Trash: A Mini-Movie 8:30 Daisies Czech New Wave p. 26 Dorsky p. 19 Extravaganza From the Collection p. 23 M.F.A. Graduate Exhibition Closes p. 4

14 15 16 17 7:30 Gothic 7:00 Fruit of Paradise 6:30 Pork Chop Hill 2:00 guided Tour State of Mind p. 9 Musical introduction by Brale Czech New Wave p. 26 Gregory Peck p. 20 7:30 The Quartet Ken Russell Tribute 8:50 The Snows of Kilimanjaro 8:30 Roman Holiday p. 23 Nathaniel Dorsky in person Gregory Peck p. 20 Gregory Peck p. 20 Dorsky p. 19

State of Mind Closes p. 6

The Reading Room Closes p. 8

21 22 23 24 7:00 The Man in the Gray Flannel 7:00 Rick 6:30 In a Lonely Place 4:45 To Kill a Mockingbird Suit Gregory Peck p. 21 Curtiss Clayton in person One-Two Punch p. 24 Introduced by Michael Butler Behind the Scenes p. 22 Gregory Peck p. 21 8:30 Fallen Sparrow 9:20 Maladies One-Two Punch p. 24 7:30 Devotional Songs Curtiss Clayton in person Nathaniel Dorsky in person Behind the Scenes p. 22 Dorsky p. 19

28 29 3o 7:00 My Gun Is Quick 7:00 Arabesque Gregory Peck p. 21 6:30 Stick One-Two Punch p. 25 One-Two Punch p. 25 9:00 Valerie and Her Week of 8:40 Valdez Is Coming 8:50 The Girl Hunters Wonders Czech New Wave p. 26 One-Two Punch p. 25 One-Two Punch p. 25

visitation p. 19

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 31 BAM / PFA UC Berkeley Art Museum & Pacific Film Archive bampfa.berkeley.edu

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University of California, Berkeley Art Museum and Pacific Film Archive, program guide Exhibition: August 24–December 9, 2012 Volume XXXVl Number 3. Published bimonthly by the University of California, Berkeley. Produced Artist-in-Residence: mid-June through late August independently by the UC Berkeley Art Museum and Pacific Film Archive, which is solely responsible for its contents. BAM/PFA, 2625 Durant Avenue, Berkeley, CA 94720-2250, (510) 642-0808. Lawrence Rinder, Director. NonprofitO rganization: Periodical Postage Paid at Berkeley Post Office. Usps #003896. POSTMASTER: Send address change to: UC Berkeley Art Museum and Pacific Film Archive, The Andy Warhol Foundation for the Visual Arts 2625 Durant Avenue, Berkeley CA 94720-2250. Copyright © 2011 The Regents of the University of California. All rights reserved.