“Fifty years of sequels, tag-team monster mash-ups, and shitty Hollywood remakes have not blunted the sheer cinematographic force, let alone metaphorical heft, of Ishirô Honda’s Godzilla,” writes Budd Wilkins at Slant. “Rarely has the open wound of widespread devastation been transposed to celluloid with greater visceral impact. Put another way, Godzilla is the Germany Year Zero of monster movies.” A month ahead of the release of the next remake, Rialto‘s DCP restoration opens for a week-long run at New York‘s Film Forum. Thereafter, it roams North America through the spring and summer. James Kang’s collecting fresh reviews at Critics Round Up.
Tomorrow night, Light Industry presents a double feature: Jean Vigo’s “anarchist featurette” Zero for Conduct (1933) and Abbas Kiarostami’s “rarely-screened documentary” Homework (1989). At its tumblr, Light Industry’s posted Jonas Mekas‘s 1962 appreciation of Zero, “an autobiographical poem, a pedagogical satire, a psychological tract, a memory of childhood, and an act of rebellion.”
Los Angeles. To celebrate the release of The Good Inn, the new novel by Black Francis (yes, that Black Francis) and Josh Frank, told “through the eyes of a shell-shocked soldier who finds himself the subject and star of the world’s first stag film,” Cinefamily‘s presenting an evening of silent porn—tonight.
Monday’s program of Small New Films at REDCAT includes work by Rick Bahto, Ursula Brookbank, Kate Brown, Paul Clipson, Hayley Elliott, Marilyn Hernandez, Ellie Parker, John Porter, Chloe Reyes, Martine Syms, Penelope Uribe-Abee and Pablo Valencia, “all projected from Super 8 or 8mm camera originals.”
Nashville. The Nashville Film Festival, established in 1969, is off and running through April 26 and, introducing its whopping guide, the Scene notes that, at “age 45, the city’s annual celebration of regional and international film (which began life in 1969 as Sinking Creek) stands as an elder statesman alongside the likes of Sundance (established 1978), Toronto (1976) and Telluride (1976).” In Cowboys & Indians, Joe Leydon explains why, on top of the films, the festival’s also just a really good time.
Seattle. “Pulsos Latinos is the Northwest Film Forum’s showcase of Latino cinema, bringing together complex, challenging, triumphant films from Argentina, Costa Rica, Mexico, Ecuador, Chile, and Peru.” It’s on from today through April 26, and the Stranger‘s David Schmader recommends Marcela Said’s Summer of Flying Fish, “a lush, lyrical study of a subject that’s spiritually in line with her previous work: the clash between indigenous and inherited legacies in contemporary Chile.”
Vienna. Adolf Wohlbrück, known to most as Anton Walbrook, “is one of cinema’s most precise and versatile actors and one of the most exciting figures in world film history. He was also one of those not-so-numerous individuals of the 20th Century whose courage and unfaltering political convictions can set an example for all.” The Austrian Film Museum’s retrospective opens tonight and runs through May 5.
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