NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
Godard’s Contempt and Midnight Cowboy play in 4K restorations.
Museum of the Moving Image
E.T., Roger Rabbit, and An American Werewolf in London play on 35mm in a summer movie series, while a print of The Royal Tenenbaums screens on Sunday; The Beast from 20,000 Fathoms also shows.
Bam
A series of recent restorations brings films by Claire Denis, Orson Welles, Hou Hsiao-hsien, and the Three Colors trilogy.
Film at Lincoln Center
The Mother and the Whore begins a run in its 4K restoration; Friday plays for free (when else) Friday night in Damrosch Park.
Museum of Modern Art
Prints from the 20th Century Fox vault begin playing in a new series.
Roxy Cinema
35mm prints of Manhattan, A Dirty Shame, Uncle Sam, and The Rocky Horror Picture Show screen, while Fassbeinder’s Whity also plays.
IFC...
Film Forum
Godard’s Contempt and Midnight Cowboy play in 4K restorations.
Museum of the Moving Image
E.T., Roger Rabbit, and An American Werewolf in London play on 35mm in a summer movie series, while a print of The Royal Tenenbaums screens on Sunday; The Beast from 20,000 Fathoms also shows.
Bam
A series of recent restorations brings films by Claire Denis, Orson Welles, Hou Hsiao-hsien, and the Three Colors trilogy.
Film at Lincoln Center
The Mother and the Whore begins a run in its 4K restoration; Friday plays for free (when else) Friday night in Damrosch Park.
Museum of Modern Art
Prints from the 20th Century Fox vault begin playing in a new series.
Roxy Cinema
35mm prints of Manhattan, A Dirty Shame, Uncle Sam, and The Rocky Horror Picture Show screen, while Fassbeinder’s Whity also plays.
IFC...
- 6/30/2023
- by Nick Newman
- The Film Stage
German enjoyed extensive collaborations with Martin Scorsese, Rainer Werner Fassbinder.
Michael Ballhaus, the German cinematographer and frequent collaborator of Martin Scorsese and Rainer Werner Fassbinder, died on Tuesday in Berlin following a short illness. He was 81.
Ballhaus earned three Oscar nominations for his work on Scorsese’s Gangs Of New York, Steve Kloves’s The Fabulous Baker Boys, and James L. Brooks’s Broadcast News.
He was born in Germany on August 5, 1935, and built up an extensive roster of credits for Rainer Werner Fassbinder such as Whity in 1971, The Marriage Of Maria Braun and Satan’s Brew.
He shot Quiz Show for Robert Redford, Bram Stoker’s Dracula for Francis Ford Coppola, Sleepers for Barry Levinson, Working Girl and Postcards From The Edge by Mike Nichols, Under The Cherry Moon for Prince, among many others.
Besides Goodfellas, Ballhaus’s Scorsese credits include Gangs Of New York, The Departed, The Age Of Innocence, The Color Of Money, and After...
Michael Ballhaus, the German cinematographer and frequent collaborator of Martin Scorsese and Rainer Werner Fassbinder, died on Tuesday in Berlin following a short illness. He was 81.
Ballhaus earned three Oscar nominations for his work on Scorsese’s Gangs Of New York, Steve Kloves’s The Fabulous Baker Boys, and James L. Brooks’s Broadcast News.
He was born in Germany on August 5, 1935, and built up an extensive roster of credits for Rainer Werner Fassbinder such as Whity in 1971, The Marriage Of Maria Braun and Satan’s Brew.
He shot Quiz Show for Robert Redford, Bram Stoker’s Dracula for Francis Ford Coppola, Sleepers for Barry Levinson, Working Girl and Postcards From The Edge by Mike Nichols, Under The Cherry Moon for Prince, among many others.
Besides Goodfellas, Ballhaus’s Scorsese credits include Gangs Of New York, The Departed, The Age Of Innocence, The Color Of Money, and After...
- 4/12/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Michael Ballhaus, the acclaimed, three-time Oscar-nominated cinematographer who worked on Gangs of New York and Goodfellas, died Tuesday evening in Berlin after a short illness. He was 81. Born August 5, 1935 in Germany, Ballhaus was an accomplished cinematographer, working closely with Rainer Werner Fassbinder on 16 films, beginning with 1970's Whity and The Bitter Tears of Petra von Kant, Satan’s Brew and Chinese Roulette, among others. Ballhaus also worked with Martin…...
- 4/12/2017
- Deadline
“We’re all pigs,” remarks a character late in Rainer Werner Fassbinder’s 1971 classic The Merchant of Four Seasons, on observation one could apply to most of the desperate and disparate characters littered throughout the German New Wave master’s oeuvre. In this instance, the comment is made by the protagonist’s familial successor. Fassbinder’s flaccid fruit vendor shrinks into the shadows of his own periphery, a failed patriarch reduced to the general fate of mediocre men in times of societal resurgence, (here specifically in the 1950s, the post-war period of the German economic miracle) marked for replacement by a trusted friend, stepping in to pinch-hit. Regarded as one of Fassbinder’s best early titles, it is one of his most accessible Sirkian inspired melodramas earning notable critical applause during an impressively fruitful period, imbued with the director’s favorite themes concerning dwindling personas of those foolish enough to...
- 6/2/2015
- by Nicholas Bell
- IONCINEMA.com
Danish documentarian Christian Braad Thomsen examines the great – and extremely unsympathetic – German film-maker Rainer Werner Fassbinder, using unseen interview footage. The result is an intimate, revealing and rather sentimental portrait
Separating the personal life of Rainer Werner Fassbinder from his films would be like trying to unscramble the eggs in an omelette. This was not a man to compartmentalise. Lovers male and female ended up on screen. Addictions and power games splashed over the sides of his life and into art. His were not sets, or films, for the faint-hearted. The producer Peter Berling once recalled that Fassbinder had begun each working day on his sexually charged western Whity by demanding 10 Cuba libres: nine to drink and one to hurl at the cameraman.
Despite being just 37 at the time of his death in 1982, he had to his name more than 40 features, plays and TV films, as well as the 14-part series Berlin Alexanderplatz.
Separating the personal life of Rainer Werner Fassbinder from his films would be like trying to unscramble the eggs in an omelette. This was not a man to compartmentalise. Lovers male and female ended up on screen. Addictions and power games splashed over the sides of his life and into art. His were not sets, or films, for the faint-hearted. The producer Peter Berling once recalled that Fassbinder had begun each working day on his sexually charged western Whity by demanding 10 Cuba libres: nine to drink and one to hurl at the cameraman.
Despite being just 37 at the time of his death in 1982, he had to his name more than 40 features, plays and TV films, as well as the 14-part series Berlin Alexanderplatz.
- 2/11/2015
- by Ryan Gilbey
- The Guardian - Film News
Premiering at the Berlin Film Festival in the summer of 1972, Rainer Werner Fassbinder’s The Bitter Tears of Petra Von Kant didn’t open to ecstatic reception. Treated with the sort of contempt that artistic endeavors later recuperated as being ‘ahead of their time’ are often subjected to, conservative audiences dismissed it as bleak and artificial, while queer audiences denounced it as an exploitational freak show. Decades later, time has come for a reexamination of one of Fassbinder’s finest achievements, arriving early on in his titles inspired by the works of Douglas Sirk, for which the title of this most certainly evokes. Shot in ten days, and presumed to have been written by Fassbinder by hand on a flight from Berlin to Los Angeles, it features three of his most beloved actresses, each with whom he shared a different type of relationship. Bitchy, catty, melodramatic and pretentious, it’s...
- 1/20/2015
- by Nicholas Bell
- IONCINEMA.com
DVD Release Date: Aug. 27, 2013
Price: DVD $69.95
Studio: Criterion
R. W. Fassbinder's Beware of a Holy Whore (1971)
From the very beginning of his incandescent career, the New German Cinema enfant terrible Rainer Werner Fassbinder (World on a Wire) refused to play by the rules. His politically charged, experimental first films, made at an astonishingly rapid rate between 1969 and 1971, were influenced by the work of the antiteater, an avant-garde stage troupe that he had helped found in Munich.
Collected in Eclipse Series 39: Early Fassbinder are five of those fascinating and confrontational works; whether a self-conscious meditation on American crime movies, a scathing indictment of xenophobia in contemporary Germany, or an off-the-wall look at the dysfunctional relationships on film sets, each is a startling glimpse into the mind of a twenty-something man who would become one of the cinema’s most prolific artists.
Love Is Colder Than Death (1969)
For his debut, Fassbinder fashioned an acerbic,...
Price: DVD $69.95
Studio: Criterion
R. W. Fassbinder's Beware of a Holy Whore (1971)
From the very beginning of his incandescent career, the New German Cinema enfant terrible Rainer Werner Fassbinder (World on a Wire) refused to play by the rules. His politically charged, experimental first films, made at an astonishingly rapid rate between 1969 and 1971, were influenced by the work of the antiteater, an avant-garde stage troupe that he had helped found in Munich.
Collected in Eclipse Series 39: Early Fassbinder are five of those fascinating and confrontational works; whether a self-conscious meditation on American crime movies, a scathing indictment of xenophobia in contemporary Germany, or an off-the-wall look at the dysfunctional relationships on film sets, each is a startling glimpse into the mind of a twenty-something man who would become one of the cinema’s most prolific artists.
Love Is Colder Than Death (1969)
For his debut, Fassbinder fashioned an acerbic,...
- 6/6/2013
- by Laurence
- Disc Dish
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
German actor best known for his roles in the films of Fassbinder
Filmgoers familiar with the work of Rainer Werner Fassbinder will certainly know Günther Kaufmann, who has died of a heart attack aged 64. Kaufmann had parts great and small in more than a dozen of the prolific German director's movies. He was what the Germans call a "Besatzungskind", one of the many children born between 1945 and 1949 as a result of relationships between German women and American soldiers. Kaufmann's black GI father, whom he never knew, returned to the Us before he was born in Munich. According to Fassbinder: "Günther thinks Bavarian, feels Bavarian and speaks Bavarian. And that's why he gets a shock every morning when he looks in the mirror." Kaufmann, whom Fassbinder always called "my Bavarian negro", played an important role in his life.
They first met in the autumn of 1969 on the set of Volker Schlöndorff's television film of Baal,...
Filmgoers familiar with the work of Rainer Werner Fassbinder will certainly know Günther Kaufmann, who has died of a heart attack aged 64. Kaufmann had parts great and small in more than a dozen of the prolific German director's movies. He was what the Germans call a "Besatzungskind", one of the many children born between 1945 and 1949 as a result of relationships between German women and American soldiers. Kaufmann's black GI father, whom he never knew, returned to the Us before he was born in Munich. According to Fassbinder: "Günther thinks Bavarian, feels Bavarian and speaks Bavarian. And that's why he gets a shock every morning when he looks in the mirror." Kaufmann, whom Fassbinder always called "my Bavarian negro", played an important role in his life.
They first met in the autumn of 1969 on the set of Volker Schlöndorff's television film of Baal,...
- 5/15/2012
- by Ronald Bergan
- The Guardian - Film News
Director: Ulli Lommel Writers: Ulli Lommel, Richard Hell, Robert Madero Starring: Carole Bouquet, Richard Hell, Ulli Lommel, Andy Warhol During my teens, I feasted on a steady diet of punk rock movies, everything from Rock 'n' Roll High School to Suburbia, The Decline of Western Civilization to Dogs in Space to Sid and Nancy to Rude Boy to Another State of Mind to The Blank Generation (1976) to Border Radio to Breaking Glass to The Great Rock ‘n’ Roll Swindle to Gleaming the Cube to Jubilee to The Last Pogo to Ladies and Gentlemen, The Fabulous Stains to Liquid Sky to The Punk Rock Movie to Repo Man to Surf Nazis Must Die to Thrashin’ to Urgh! A Music War to Stop Making Sense…but one film that always eluded me was Ulli Lommel’s Blank Generation (not to be confused with Ivan Kral’s 1976 documentary The Blank GenerationBlank Generation on DVD.
- 5/17/2010
- by Don Simpson
- SmellsLikeScreenSpirit
Never heard of this, but maybe one of you out there has.
Courtesy of the Afro-Europe International Blog…
Synopis: 17-year old Leroy (Alain Morel) is German - and black. The son of a black eccentric inventor (Günther Kaufmann) and a progressive white mother (Eva Mannschott) who works for the local government. Leroy lives in Berlin, wears a big afro, but prefers Mozart to Hip Hop. Leroy’s friends are outsiders as well – Dimi is Greek and Achmed is Palestinian. However they all have girlfriends except Leroy. When cute Eva (who’s white) falls in love with him, nobody is as surprised and confused as Leroy himself.
But first love is not always sweet. Eva’s family turns out to be right wing extremists. They even named their Australian parrots after two of Hitler’s generals, and Eva’s five skinhead brothers are longing to kick Leroy’s butt asap.
However,...
Courtesy of the Afro-Europe International Blog…
Synopis: 17-year old Leroy (Alain Morel) is German - and black. The son of a black eccentric inventor (Günther Kaufmann) and a progressive white mother (Eva Mannschott) who works for the local government. Leroy lives in Berlin, wears a big afro, but prefers Mozart to Hip Hop. Leroy’s friends are outsiders as well – Dimi is Greek and Achmed is Palestinian. However they all have girlfriends except Leroy. When cute Eva (who’s white) falls in love with him, nobody is as surprised and confused as Leroy himself.
But first love is not always sweet. Eva’s family turns out to be right wing extremists. They even named their Australian parrots after two of Hitler’s generals, and Eva’s five skinhead brothers are longing to kick Leroy’s butt asap.
However,...
- 1/9/2010
- by Tambay
- ShadowAndAct
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