For the New Inquiry, Brandon Harris reviews the current production of Annie Baker’s Pulitzer-winning play The Flick, on at Barrow Street Theatre in New York through August 30. It “centers on the loss of the film projector at a central Massachusetts one-screen art house theatre” and, “as staged by Baker’s frequent collaborator Sam Gold,” it’s “a treatise on labor and ownership, race and class, all set within the confines of a theatre where the ceiling tiles are collapsing and gum is stuck underneath the front row seats. Running nearly three hours, much of which is spent in total silence as the hard luck trio at the center grimly ply their trade, it resembles the slow cinema of Chantal Akerman or Pedro Costa as much as it does a traditional theatrical experience. It’s a play that could have only been written by a cinephile.”
The Film Society of Lincoln Center is going to be spending all day Thursday, July 9 with Sean Baker: “The day will include back-to-back screenings of Prince of Broadway, Starlet, and a sneak preview of his latest feature, the bombastic and moving Tangerine, which opens here the following day.”
Chicago. “During the four-plus years it took Adam Selzer and I to research and write our book Flickering Empire, we spent a lot of time reading about films that were made in Chicago during the silent era that have since been tragically lost,” writes Michael Smith. “For most of that time, our holy grail of ‘lost Chicago movies’ was the Essanay Film Manufacturing Company’s 1916 production of Sherlock Holmes.” Having been rediscovered, restored and screened at the San Francisco Silent Film Festival, it plays on Friday in the Charlie Chaplin Auditorium of St. Augustine College. “Black-and-white or ‘period’ attire is encouraged.”
Los Angeles. Gerald Kargl’s Angst (1983) screens tonight and tomorrow at Cinefamily.
Austin. AFS at the Marchesa is presenting Dance Girl Dance: The Pioneering Films of Dorothy Arzner through June 28.
London. With the Marilyn Monroe season on at BFI Southbank through June, the Guardian‘s Benjamin Lee looks back on her “five best moments.” And for Glenn Heath Jr., writing for Little White Lies, John Huston‘s The Misfits (1961) “is a story of transition, one absurdly dedicated to the emotional mountains and valleys that must be traversed when different generations begin orbiting the same headspace.”