I interrupt your pleasant summer Sunday with a few quick notes on events happening in the next day or two—or even within the next few hours. We begin in New York, where, at Anthology, tonight’s “inaugural show of White Cube / Black Box places painter Agnes Martin’s only completed film, Gabriel [1976], in the company of other contemplative landscape films: Stan Brakhage’s rarely-screened documentation of a visit to the Alaskan glaciers [Creation, 1979], Rudy Burckhardt’s ode to Maine’s deciduous forests [Caterpillar, 1973], Ryan Marino’s study of the illuminations of remote terrain [A Distant Horizon, 2012], and Ben Russell’s inquiry into the difficulties and revelations in recording a landscape on film [The Quarry, 2002].” Courtney Fiske for Artforum: “For all its emotional cool, Gabriel evokes the sublimity that dwells in the everyday.”
The BAMcinématek series Chaplin in 35mm is on through tomorrow.
Los Angeles. Travis Wilkerson will be on hand for tonight’s screening of Who Killed Cock Robin? (2005/2010). Dennis Lim’s called it a “bold and unfashionable film in every sense, not least its earnest political stand.”
Sturges Rally: Comedy Built for Speed, a retrospective at the American Cinematheque’s Egyptian Theatre, is on through August 23. In the Times, Susan King briefly surveys this “series of flawless social comedies that were an intoxicating mix of sophisticated dialog and freewheeling slapstick.”
In the Weekly, Amy Nicholson talks with the programmers of Everything Is Festival, “10 days of tightly edited chaos, with nights dedicated to public-access shows, bizarre video games, awkward stand-up, awkward rappers and cute animal clips.” Starts tomorrow.
Toronto. There are two screenings left in TIFF’s retrospective, Modern Love: The Films of Leos Carax. Programmer James Quandt notes that the series has tracked “a sporadic career that has taken the director from cinéaste maudit to enfant gris, from the director’s euphorically received first feature Boy Meets Girl [1984] (declared the finest French debut film since Godard’s Breathless) through its cultish follow-up Mauvais sang [1986], to the protracted calamities of Les amants du Pont-Neuf [1991] and Pola X [1999]—the first now celebrated as an unfairly traduced masterpiece, the latter as a forerunner of the New French Extremity of Gaspar Noé, Philippe Grandrieux, Bertrand Bonello et al.—and finally to last year’s enchanting Holy Motors [2012], a film as ecstatically received as his first.”
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