We begin in New York, with Eric Hynes in the Times: “Many artists mine their lives for material. The Garrels just mine theirs harder. Jealousy, which opens Friday, is the fifth collaboration between father and son (A Burning Hot Summer, Frontier of Dawn and Regular Lovers are the others). While all bear traces of self-examination, this latest might be their most personal. Louis (The Dreamers) plays a stage actor based on Philippe’s father (Maurice Garrel, who died in 2011), who leaves his partner for another woman, in the process abandoning a child based on the director himself. Even Louis’s actual sister, Esther Garrel, shows up as his on-screen sibling.” But Jealousy is “less an act of indulgence than of intergenerational empathy.” A week after the two-week run begins at the Film Society of Lincoln Center, Jealousy begins its trek across the States.
With A Life Less Ordinary: The Films of Joaquim Pinto on through tomorrow at the Film Society of Lincoln Center, Max Nelson profiles the Portuguese director for Film Comment, noting that he’s always “had a remarkable ear for the rhythms of the natural world, and a skill at timing his movies to beat in step with their settings.”
BAMcinématek’s Buñuel series runs through Thursday. The New Yorker‘s David Denby reviews The Exterminating Angel (1962) and The Discreet Charm of the Bourgeoisie (1972) and, for the Notebook, Sarah Salovaara writes about Buñuel‘s final film, That Obscure Object of Desire (1974).
Tomorrow, Herb Shellenberger presents Radical Sex Education Films: San Francisco’s Multi-Media Resource Center at Light Industry. “The subject, content and context of these films is a beautiful confluence of three major interests of mine: psychedelia, sex and experimental film.”
London. Sam Peckinpah‘s The Wild Bunch (1969) screens tonight and Sunday at BFI Southbank. “Perhaps the biggest unsung hero of The Wild Bunch is a man who neither called ‘action’ nor appeared on screen,” writes Lou Thomas for the BFI. “Lou Lombardo edited the film with Peckinpah and broke a record on the way: some 3,643 shot to shot edits were used in the film’s final cut, more than any other colour film up to that point. The films of John Woo, Brian De Palma, Kathryn Bigelow, Quentin Tarantino and Edgar Wright among others have all been influenced by this razor-sharp editing and the sheer ferocity of The Wild Bunch’s action scenes.”
And Time Out rounds up more local goings on.