Daily | Goings On | Morrison, Marker, Herzog

Bill Morrison's 'The Mesmerist' (2003)

Bill Morrison’s ‘The Mesmerist’ (2003)

Just a quick update, and we begin in New York, where MoMA notes that Bill Morrison “has spent more than two decades integrating archival footage in various states of decay into new artworks, frequently collaborating with contemporary composers who create scores for the resulting work… Bill Morrison: Compositions is a comprehensive view of the filmmaker’s work at mid-career, with a full retrospective of more than two dozen shorts and feature films, along with three live film/musical performances.” Today through November 21.

Journalist, filmmaker and author Jon Ronson (The Men Who Stare at Goats) will be at Brooklyn’s Morbid Anatomy Museum tonight for a screening of his 2008 documentary, Stanley Kubrick’s Boxes: “A few months after Stanley Kubrick died, Jon Ronson was invited to his house north of London, where he found something extraordinary—a thousand sealed boxes. What was in them? Everything. Kubrick never threw anything away. And so Jon asked Kubrick’s people if he could look through the boxes. Which he did—on and off—for five years.”

“If Godard was the first-born cinematic child of Brecht’s theory of the distancing effect, then Marker was his other, second son, and, perhaps, the one who followed his precursor’s practice most closely.” For Art Agenda, Stephen Squibb reviews Chris Marker’s Koreans, on view at Peter Blum through Saturday.

Starting tomorrow at Anthology: Matías Piñeiro Selects: Bridges over Argentine Cinema, a series programmed by the director of Viola and The Princess of France.

Tomorrow night at Spectacle Theater: Necronomicon: The Films of H.R. Giger

Los Angeles. Cameron: Songs for the Witch Woman, an exhibition of work by and about artist, performer and poet Marjorie Cameron, is on at the Museum of Contemporary Art through January 11. “She is the Scarlet Woman in Kenneth Anger’s mythical, hallucinatory film Inauguration of the Pleasure Dome (1954), and it’s a part the actress, by then known simply as Cameron, was seemingly born to play,” writes Steffie Nelson for the Los Angeles Review of Books. “As legend has it, when director and star first met, Cameron proclaimed, ‘I am the Scarlet Woman,’ and Anger responded, ‘I’ve been waiting to meet you for a thousand years.’ … Curtis Harrington, who portrayed Cesare the Somnambulist in Inauguration, was so captivated by Cameron that he directed an experimental 16mm portrait of her, also called The Wormwood Star (1955), which offers the only glimpse of a series of beautiful paintings that burned in a fire.”

The Other Worlds of Werner Herzog, an exhibition of photographs and posters, is on view through October 26 at the Wuho Gallery.

Kapurush – clipping from Varsha Bansal.

Austin. The Film Society’s series The Eyes and Ears of Bengal: Six Classic Films by Satyajit Ray, on through November 6, tonight features Kapurush (The Coward, 1965). Writing for the Chronicle, Vijay Ganju notes that this film, along with Mahapurush (The Holy Man, 1965) and Nayak (The Hero, 1966), “focus on human frailties—the results and regrets of inertia and inaction, the duplicity and gullibility inherent in our interactions, and the fears and diffidences just below the surface that we often hide from others if not ourselves.”

Toronto. TIFF Bell Lightbox previews its fall season:

Vancouver. With the festival just wrapped, Kristin Thompson‘s posted thoughts on Ana Lily Amirpour’s A Girl Walks Home Alone at Night, Rakhshan Bani-Etemad’s Tales, Shahram Mokri’s Fish and Cat, Nadav Lapid’s The Kindergarten Teacher and Nuri Bilge Ceylan‘s Winter Sleep.

London. Steve McQueen’s new Super 8 short Ashes can be seen at Thomas Dane from today through November 15. Peter Aspden in the Financial Times on the portrait of a young fisherman shot dead drug dealers: “The juxtaposition of spoken word and image, pulling and pushing at different emotions in the spectator, is typical McQueen, complicating and subverting a seemingly straightforward narrative. The film, he explains, has something of the quality of a found object for him: the footage of Ashes was shot 12 years ago in Grenada, his father’s birthplace, while he was shooting for another film entirely, the installation diptych, Caribs’ Leap and Western Deep.”

Paris. The 16th edition of the Festival for Different and Experimental Cinemas is on through October 26.

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