While pretty much everyone in the New York City film world has relocated to Utah for the next week-and-a-half, it's good to know that the movies haven't relocated with them. I can't recall such an exciting weekend for movies. Let me explain...
First up is Philippe Garrel's astonishing REGULAR LOVERS, which I've been praising on this site ever since I saw it back in the fall of 2005 at the NYFF press screening. I watched it again in Rotterdam last January, and though I do feel like I made peace with it after a second viewing, the lure of the sequence set to "This Time Tomorrow" by The Kinks is enough to get me back in a theatre to experience it for a third time. Now that I have a reasonable amount of distance from that initial viewing, I can honestly declare that particular scene to be one of my favorite movie moments ever, though the entire film is a wonder to behold. Like my favorite films, it sounds pretentious on paper, but it is anything but that. It is driven by a pure, honest emotion that won't allow it to cross the line into Snobville. Not to mention William Lubtchansky's impossibly beautiful black-and-white cinematography. This is one of the true movie events of the decade. It would be a sacrilege to miss it on the big screen. So don't.
REGULAR LOVERS is opening at Cinema Village, where I am thrilled to inform you that it will be screening alongside ABDUCTION: THE MEGUMI YOKOTA STORY, which has been carried over for a second week due to positive word of mouth and respectable attendance. Hooray for that! If you did happen to drop the ball this week and haven't see ABDUCTION yet, do it before it's too late. Though I might not recommend a double-feature with these two, as they're pretty draining experiences in their own right. But if you do run them back-to-back, write me an email and I'll send you a pill of ecstasy to restore the pep to your drained step.
Over in Queens, at the Museum of the Moving Image, their "Great Documentaries" series continues with SALESMAN (Saturday at 3pm) and DELIVERED VACANT (Sunday at 3pm). I am ashamed to confess that I've never seen SALESMAN--I know, I know, okay, I know, already!--but I hope to add that notch to my bedpost this weekend.
At another museum screening room, MOMA is finally introducing their newly restored print of ERASERHEAD to the public. While I have seen ERASERHEAD more than a few times, I've never experienced in a theatre, so I'm quite excited to do just that. It's only showing once a day--minus Tuesday--so I'm thinking that I might try to catch SALESMAN at 3 and then rush back to Manhattan for the 5:30 screening on Saturday evening. If that isn't an exciting day of movies, there ain't no such thang.
And over at the IFC Center, the stellar "An Artist and A Gambler: Robert Altman Remembered" series continues, though it's finally hit the home stretch (nooooooo!). I caught the 6:20 BREWSTER MCCLOUD tonight, which is as giddy as a movie can get. I want to make a movie like that! To think that in a two-year span Altman made M*A*S*H, BREWSTER, and MCCABE & MRS. MILLER, it really is unfathomable. The fascinating 3 WOMEN screens all day Friday (though I'll be at Union Hall to catch Ola Podrida's acoustic set opening for Mark Eitzel), while Saturday and Sunday brings a double-bill of BUFFALO BILL AND THE INDIANS, OR SITTING BULL'S HISTORY LESSON and the brilliant, perfect, perfect, brilliant MCCABE.
But perhaps most importantly, yet not theatrically, after tomorrow night's show, a late-night screening of LADY IN THE WATER, M. Night Shyamalan's jaw-dropping bedtime snory, is scheduled with Jesse Sweet and Christof Gebert. This promises to be one for the ages (I've already seen it, so I should know).
(Note: Lest you think I only sit around and watch movies, let me remind you that I make them too. As of this afternoon, Jane and I finished cutting SILVER JEW. Until the titles are finished, we aren't calling it a lock, but we both feel like we're all the way there (or as there as this thing is ever going to be). Now comes Christof Gebert's expert sound edit, followed by a day-long color correction session, and then we're ready to output this mofo to HDCam and Digi-Beta. The day that happens, I'm gonna treat myself to some all-you-can-eat sushi. Kiki VandeWUHPOW, suckaz!)