The major events in New York over the next while will be the big Tsai Ming-liang bash and the second edition of Art of the Real (an overview’s forthcoming). Here, let’s note that another retrospective opens today, Nelson Pereira dos Santos: Politics and Passion, running at MoMA through April 17. “Pereira was born into a cinephilic working-class family in São Paulo, studied law, and worked as a journalist before pursuing filmmaking,” writes Aaron Cutler for Artforum. “The Brazilian cinema of the late 1940s and early 1950s was dominated by studio films made in imitation of Hollywood models; Pereira, dissatisfied, instead drew inspiration from Italian Neorealism for his first feature, Rio, 100 Degrees (1955).” And from MoMA: “Almost 60 years later, Pereira remains a vital creative force, still passionately engaged with the people, music, and politics of his country.”
From tomorrow through May 18, Microscope Gallery hosts Paolo Gioli’s Volti (Faces), “his first solo exhibition in the US. Paolo Gioli, who is among the artists representing Italy at this year’s Venice Biennial, began his practice with painting and has been working with 16mm film and photography since 1969, altering and reinventing historical photographic tools and techniques to achieve unprecedented uses of light and chemicals.”
On Sunday, there’ll be a party and silent auction to benefit Light Industry.
Recommendations in the L: Aaron Cutler on Haile Gerima’s Sankofa (1993; Sunday at BAMcinématek) and on Ernest B. Schoedsack and Irving Pichel’s The Most Dangerous Game (1932; today and tomorrow at MoMA); Elise Nakhnikian on Charles Burnett’s To Sleep with Anger (1990; Monday at the IFC Center); and A.J. Serrano on Jacques Demy’s Bay of Angels (1963; Tuesday at the French Institute Alliance Français).
San Francisco. Crossroads 2015 happens on Friday, Saturday and Sunday. From the SF Weekly: “San Francisco Cinematheque, perhaps the city’s biggest champion of cerebral and strange filmmaking, presents three days of avant-garde rarities and experimental premieres, with nine thematic programs offering lots in the way of unique projection techniques, personal appearances, live soundtracks, and more.”
And from KQED: “Paul Clipson’s Hypnosis Display receives its local premiere opening night with Liz Harris of Grouper performing the soundtrack. Or pick any of the beautifully curated programs of shorts, like the ones that feature the entrancing multiple-projector works of Berlin’s Ojoboca or Karissa Hahn’s enigmatic vignettes of domestic confinement and (possible) escape.”
The Chicago Latino Film Festival opens today and runs through April 23. In Time Out, Michael Smith recommends Casa Grande, or the Ballad of Poor Jean. In his semi-autobiographical debut feature, Fellipe Barbosa “incisively dissects issues of class and race in the potent Rio-set drama.” And Nelson Carvajal has more recommendations at RogerEbert.com.
Cambridge. Starting tomorrow at the Harvard Film Archive are The Waking Dreams of Wojciech Jerzy Has and Ben Rivers’ Midnite Movies: The Witching Hour Part 3, “Because You’ve Never Known Fear Until it Stabs You in the Eye with a Rusty Nail”—both through May 30.
Nashville. The Belcourt‘s Barbara Stanwyck blowout rolls on through May and, in this week’s Scene, Craig D. Lindsay offers a “Stanwyck Sampler”: “In her 88-film career, the screen siren racked up quite the track record working with equally formidable directors. In this retrospective, audiences will see Stanwyck from the filmmaking perspective of lots of biggies: Capra, Hawks, Wilder, Sturges. You’ll even see her in films by melodramatic madmen Douglas Sirk and Sam Fuller.”
Philadelphia. Drew Lazor has local listings in the City Paper.
Los Angeles. Tomorrow and again on Sunday at Cinefamily, Samantha Fuller will be on hand to present her documentary on her father, A Fuller Life, screening with a new restoration of Sam Fuller’s cut of Dead Pigeon on Beethoven Street (1974).
Vienna. Glorious Technicolor: From George Eastman House and Beyond opens at the Austrian Film Museum tomorrow and runs through May 3.
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