Art of the Real
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Art of the Real 2019: Darkness, Compulsive Cinephilia and Godard
2016: not a good year for most people, and certainly not for Frank Beauvais. His Just Don’t Think I’ll Scream is the opening night film at this year’s sixth annual Art of the Real series, Film Society of Lincoln Center’s perspective on the year in nonfiction. Handily for me, Beauvais (a music supervisor and documentarian making his feature debut) has written his own IMDb synopsis, upon which I cannot improve: January 2016. The love story that brought me to this village in Alsace where I live ended six months ago. At 45, I am now alone, without a car, a job […]
by Vadim Rizov on Apr 18, 2019 -
Canyon Cinema 50, Art of the Real and Emile de Antonio in NYC, Week of 4/27
A few weeks ago my Twitter feed abruptly devolved into a long argument about The Canon: is it just an ossified collection of movies made by white men that should be junked? I don’t think The Canon is a fixed, immutable body of work, never to be added or subtracted to — it’s being constantly reshuffled, with films and filmmakers rising and falling in prominence. Repertory houses have a major part to play in that process, which I note while in the position of wanting to commend a smattering of series and screenings kicking off this weekend in NYC, none of […]
by Vadim Rizov on Apr 26, 2018 -
Prisons without Crime: Brett Story on Her Genre-Subverting Doc on Mass Incarceration, The Prison in Twelve Landscapes
Brett Story’s The Prison in Twelve Landscapes screens this Sunday at the Art of the Real showcase at the Film Society at Lincoln Center. Given the growing consciousness about police violence and the awe-inspiring momentum of the movement for black lives, the film couldn’t be more timely, though it eschews the hot-button approach. Story has crafted a profound and political film that, while not sensational, is quietly shocking — even if you are already steeped in the project’s central theme. By taking an innovative and unexpected approach to the subject of mass incarceration, Story reveals just how deeply entrenched the problem of over-policing is. The […]
by Astra Taylor on Apr 14, 2016 -
Camera Lucida: Edgardo Cozarinsky on Letter to a Father
“I have often wondered what makes us keep things that we know are bound to disappear,” states the narrator of the film Letter to a Father (2013). The voice belongs to Letter’s filmmaker, Edgardo Cozarinsky, who was born in Buenos Aires in 1939 and has spent much of his life in Paris. The things he has kept over time include items pertaining to his father, Mirón Cozarinsky, a naval officer he barely knew who passed away when he was 20 years old. In the Argentinian director’s most recent feature-length film, he visits his father’s hometown of Clara (located in the central Entre Ríos province) for the first time. […]
by Aaron Cutler on Apr 15, 2015 -
Watch: Eduardo Williams’ Remarkable Short Could See a Puma
Lincoln Center’s keenly anticipated “Art of the Real” series on boundary-pushing contemporary documentaries kicks off tonight with a shorts program which includes a new short film by Eduardo Williams. To whet your appetite, I highly recommend watching his remarkable 2011 short Could See a Puma, which appears to be his second film. I couldn’t possibly improve on the IMDB synopsis: “The accident leads a group of young boys from the high roofs of their neighborhood, passing through its destruction, to the deepest of the earth.” This is bold, formally adventurous filmmaking that really seems to be something new — if […]
by Vadim Rizov on Apr 10, 2015 -
Take What You Can Carry Director Matthew Porterfield, Producer Zsuzsanna Kiràly and d.p. Jenny Lou Ziegel on Collaborating Outside the System in Germany
With only three features under his belt, Matthew Porterfield has proven himself one of the most original voices in low-budget independent cinema, winning deserved praise from critics and audiences in both the US and Europe. Last year Porterfield made his first short film, the 30-minute Take What You Can Carry, which had its world premiere at the 2015 Berlinale. Inspired by a quote from French author Georges Perec, this self-described meditation on “communication, creativity and physical space” finds the Baltimore native working once more (in a somewhat more abstract mode than his features) with girlfriend Hannah Gross as Lilly, an American in […]
by Andrew Grant on Feb 25, 2015
