Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Metrograph
Films by Mizoguchi, Kurosawa, and Naruse kick off a retrospective of Japanese actress Machiko Kyō.
The Pasolini retrospective continues.
Streetwise and its follow-up, Tiny: The Life of Erin Blackwell, begin a run.
The restoration of A Bigger Splash continues screening, while the ’90s indie film Chalk has been restored.
Tie Me Up! Tie Me Down!
Metrograph
Films by Mizoguchi, Kurosawa, and Naruse kick off a retrospective of Japanese actress Machiko Kyō.
The Pasolini retrospective continues.
Streetwise and its follow-up, Tiny: The Life of Erin Blackwell, begin a run.
The restoration of A Bigger Splash continues screening, while the ’90s indie film Chalk has been restored.
Tie Me Up! Tie Me Down!
- 7/26/2019
- by Nick Newman
- The Film Stage
By Glenn Dunks
For a film about teenagers living rough, squatting in dilapidated and abandoned hotels or homeless on the streets, there is a remarkable amount of poetic beauty in Streetwise. The work of director Martin Bell (American Heart) was born out of a Life exposé called “Streets of the Lost” by his photographer wife (also noted as a film still photographer) Mary Ellen Mark and journalist Cheryl McCall and it is the latter pair’s continued relationship with the runaway teenagers who populate its intimate yet sprawling narrative that was so essential to Bell being given the remarkable access that Streetwise offers.
Originally released in 1984 and now restored for its 35th anniversary, Bell’s documentary was nominated for an Academy Award. And it probably would have won, too, had it not been for The Times of Harvey Milk. So not quite as egregious of a loss as I had...
For a film about teenagers living rough, squatting in dilapidated and abandoned hotels or homeless on the streets, there is a remarkable amount of poetic beauty in Streetwise. The work of director Martin Bell (American Heart) was born out of a Life exposé called “Streets of the Lost” by his photographer wife (also noted as a film still photographer) Mary Ellen Mark and journalist Cheryl McCall and it is the latter pair’s continued relationship with the runaway teenagers who populate its intimate yet sprawling narrative that was so essential to Bell being given the remarkable access that Streetwise offers.
Originally released in 1984 and now restored for its 35th anniversary, Bell’s documentary was nominated for an Academy Award. And it probably would have won, too, had it not been for The Times of Harvey Milk. So not quite as egregious of a loss as I had...
- 7/24/2019
- by Glenn Dunks
- FilmExperience
In the oversaturated cinematic climate of 2019, sequels are semi-hated. The concept of second chapters continuing narratives and diving deeper into characters has vanished in favor of releasing uninspired, cliche follow-ups to franchises that most of the populace never cared about, to begin with. While this diatribe may seem unrelated to “Tiny: The Life of Erin Blackwell,” Martin Bell’s spiritual successor to his 1984 documentary “Streetwise,” the film surprisingly showcases a prime formula for how a sequel should be executed.
Continue reading ‘Tiny: The Life Of Erin Blackwell’: The ‘Streetwise’ Follow-Up Is A Sobering Look At The Fallout Of Poverty & Addiction [Review] at The Playlist.
Continue reading ‘Tiny: The Life Of Erin Blackwell’: The ‘Streetwise’ Follow-Up Is A Sobering Look At The Fallout Of Poverty & Addiction [Review] at The Playlist.
- 7/19/2019
- by Jonathan Christian
- The Playlist
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film at Lincoln Center
A retrospective of 21st-century debuts is underway, with two-for-one packages doubling some of today’s best working filmmakers.
A free screening of Martin Scorsese’s After Hours is held at Governor’s Island tonight.
A Bigger Splash has screenings.
Museum of the Moving Image
The expressively named “Barbara Hammer, Superdyke” looks...
Film at Lincoln Center
A retrospective of 21st-century debuts is underway, with two-for-one packages doubling some of today’s best working filmmakers.
A free screening of Martin Scorsese’s After Hours is held at Governor’s Island tonight.
A Bigger Splash has screenings.
Museum of the Moving Image
The expressively named “Barbara Hammer, Superdyke” looks...
- 7/19/2019
- by Nick Newman
- The Film Stage
“Streetwise,” the classic and haunting 1984 documentary about homeless street kids in Seattle, is a movie that’s now 35 years old. But for anyone who has seen it, the children it’s about — drifters, hustlers, squatters, thieves, prostitutes — remain frozen in time. And none of them was ever more memorable than Tiny, the 14-year-old baby-doll hooker with the punk-peacock shag cut and the mouth that turned down at the corners with a look of jaded desolation you’d expect to see on the face of someone 30 years older.
In the most famous photograph associated with “Streetwise,” an image shot by Mary Ellen Mark, Tiny stares out at the camera with a look of dead-eyed knowingness, her scrawny body clothed in a sleeveless black dress, black gloves, and a hat with a veil that comes halfway down her face. What’s indelible about that image is that Tiny, with her children-of-the-damned stare and French courtesan’s clothing,...
In the most famous photograph associated with “Streetwise,” an image shot by Mary Ellen Mark, Tiny stares out at the camera with a look of dead-eyed knowingness, her scrawny body clothed in a sleeveless black dress, black gloves, and a hat with a veil that comes halfway down her face. What’s indelible about that image is that Tiny, with her children-of-the-damned stare and French courtesan’s clothing,...
- 7/19/2019
- by Owen Gleiberman
- Variety Film + TV
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