We begin in New York, where It’s Hard to Be Human: The Cinema of Roy Andersson, a retrospective at the Museum of Arts and Design, opens on Friday and runs through June 27. Nicolas Rapold talks with Andersson, whose A Pigeon Sat on a Branch Reflecting on Existence opens at Film Forum on June 3, for the New York Times: “‘Existence contains so many things: brutal things, comic things,’ he said in the interview. (It’s worth noting that from 2006 to 2009, Mr. Andersson labored on a museum exhibition called Sweden and the Holocaust.)”
You can still catch a few screenings in the BAMcinématek series Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960—1990, on through tomorrow. “It’s hard to think of an image more telling of the social and political frustration of the period in these countries than the repeated shot of a man running up to and throwing himself against a wall in Pawel Kwiek’s Polish short 1. 2. 3… Operator’s Exercise (1972),” writes Tony Pipolo for Artforum.
Back in the NYT, Daniel M. Gold has a brief overview of the Film Society of Lincoln Center’s retrospective Titanus: A Family Chronicle of Italian Cinema. “From the late 1940s through the early 1960s,” he writes, the studio “distributed its share of sword-and-sandal flicks and other bits of cheese, yet also released works not only by De Sica but by the likes of Fellini (The Swindle) and Antonioni (Le Amiche)—both of which are in the series, which runs through next Sunday.”
Starting Saturday, MoMA’s presentation of 34 movie posters from Martin Scorsese’s collection will be on view through October 25. Scorsese Collects is “centered around a rare, billboard-size poster for the 1951 film Tales of Hoffmann.” The accompanying series Scorsese Screens runs from August 5 through September 6.
“Welcome to This House, Barbara Hammer’s impressionistic yet informative portrait of the poet Elizabeth Bishop, certainly pays tribute to the towering literary achievements of Bishop (1911-79),” writes Andy Webster in the NYT. “But Ms. Hammer, an experimental filmmaker whose movies have often chronicled lesbian experience, largely examines Bishop’s private life, an often peripatetic existence strewn with lovers in a deeply closeted era.” Through Monday at MoMA.
Samuel Fuller‘s Pickup on South Street (1953) sees a week-long run at Film Forum starting on Friday. J. Hoberman for the New York Review of Books: “The idea that J. Edgar Hoover hated Sam Fuller’s insanely slangy, deliriously hard-boiled noir—the craziest anti-Communist movie of 1953 or any other year—only makes the movie more enjoyable.” More from Chuck Bowen at Slant: “There’s a weird, fascinating conflict of politics in Fuller’s vision, as it glorifies both an informal socialism as well as an ethos that’s most typically described as survival of the fittest.”
For more NYC screenings, see the L and Time Out New York.
Los Angeles. Fassbinder and His Friends, a mini-retrospective presented by the American Cinematheque and the Goethe-Institut, opens tomorrow and runs through Saturday.
Just-Noticeable Differences: The Cinema of Hou Hsiao-hsien, a symposium in Antwerp may be wrapping today, but Also Like Life: The Films of Hou Hsiao-hsien carries on running at the UCLA Film & Television Archive through June 20.
The Filmforum presents Marnie Weber: Twenty Years and Forevermore on Saturday and James Benning‘s natural history on Sunday.
Chicago. Just one more Tuesdays and one more film left in Doc Films‘ Frederick Wiseman retrospective: Domestic Violence (2001).
Austin. This year marks the 40th anniversary of the Paramount Summer Classic Film Series and the Chronicle‘s got a three-part overview: Mavericks, Schemers and Beautiful Dreamers.
Toronto. TIFF Bell Lightbox previews its summer:
Vienna. The Austrian Film Museum presents a Don Hertzfeldt retrospective from today through Saturday.
Bordeaux. The Contemporary Art Museum‘s Alejandro Jodorowsky exhibition opens tomorrow and will be on view through October 31.
Ramallah. “Cinema Sayyara! is a rooftop drive-in cinema by the artist Phil Collins, commissioned by the 5th Riwaq Biennale. It is the latest model of Collins’s Auto-Kino!, which was rolled out in Berlin five years ago. The new film program for Ramallah has been collectively selected by artists, and filmmakers whom Collins invited as guest programmers, as well as by residents of the Beit Saa neighborhood.”
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