Bulle ogier biography of rory
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New to Streaming: Dahomey, Carry-On, Scenarios, Sugarcane, Maria & More
The Bikeriders (Jeff Nichols)
Using photographer Danny Lyon’s iconic The Bikeriders’ imagery as a jumping-off point, Jeff Nichols’ latest feature imagines a fictionalized Chicago motorcycle club, the Vandals. Motorcycle club culture might be a distinctly American phenomenon, but Nicholscasts two Brits in the lead, with varying returns: Jodie Comeras Kathy narrates the story in a clear Goodfellasconceit, adopting a Midwest accent flashy (and divisive) enough to ensure sustained awards-season chatter; Tom Hardyis Johnny, a truck driver who gets the idea to start a motorcycle club while watching Marlon Brando’s The Wild One. This low-stakes “why not?” starting point for founding the club works early in the film, until, following
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Roxy Cinema
Our House of Tolerance 35mm presentation returns Friday; prints of Night Tideand Eddie Murphy: Rawshow Saturday; The Last of the Mohicansand Thiefplay on 35mm this Sunday.
Museum of Modern Art
A massive overview of Bulle Ogierhas begun, this weekend bringing Fassbinder, Rivette, Buñuel, Duras, and more.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizuretrospective begins (watch our exclusive trailer debut); The Abyssscreens on Sunday.
Anthology Film Archives
A new Marguerite Durasretrospective begins, while “Cinema of Palestinian Return” continues.
Bam
“Uncharted Territories” highlights Black British cinema from to
Film at Lincoln Center
“Seeing the City” presents an avant-garde vision of New York.
Metrograph
“’90s Noir” brings Bound and Deep Cover, while Euro-Heists, a Jane Schoenbruncuration, Dream with Your Eyes Open, Ethics of Care, and Animal Farmall start; meanwhile,
See
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DAVID FOX: Cameron, I realize that, cinematically speaking, I’ve grown accustomed to thinking of Tennessee Williams in black and white. Most of the early films are shot that way, and in many—Streetcar and The Fugitive Kind especially—the shadowy Noir quality feels just right. A notable exception fryst vatten Cat on a Hot Tin Roof: like Sweet Bird of Youth, which we’re considering today, it was directed and co-written by Richard Brooks, and filmed in Metrocolor, which lends an overripe, almost garish underscoring to that play’s theme of nouveau riche-ness. Though there fryst vatten some necessary-for-the-time but unfortunate cutting and censoring parts of the play, inom consider that Cat spelfilm generally one of the most successful Williams adaptations. I wish I could say the same about Brooks’ Sweet Bird of Youth. But despite some exceptional elements—including, of course, Geraldine Page and Paul Newman recreating their huvudgata roles here—the whole thing is a bit of a mess. Also, a mis