Ed McCarry
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The first show of our merry troupe. We present rare films by and for Frans van de Staak, a comrade of the Straubs who labored away in his underground movie machine in Amsterdam, fixing wild intuitions on film with clarity and workmanship. Follow along.
The Theater of the Matters presents...
FRANS VAN DE STAAK:
A SHOEMAKER'S SON IN AMSTERDAM
A program dedicated to the great (and unknown) Dutch outsider filmmaker, dubbed "the only heir to Dziga Vertov" by J-M Straub. Rare 16mm and 35mm prints. Oct 22 at
@BAMfilmBrooklyn
.
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"Straub is gone. Godard is gone. Rivette is gone. Of course there’s others, there’s friends... There’s Hong Sangsoo."
-Pedro Costa
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Kiyoshi Kurosawa's theory of Somai:
The inherent entropy and singularity of the act of filming, the temptations of a film set, how Somai leaned into those temptations and "exposed the realities of filming."
MOVING is screening everyday at
@filmlinc
.
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K. Kurosawa can be seen in the final shot of SAILOR SUIT AND MACHINE GUN. He was helping to manage the crowd.
"Maybe the last great master of Japanese film history." -Kiyoshi Kurosawa
The 4K restoration of Shinji Somai's seminal TYPHOON CLUB opens Sept 8 at
@IFCCenter
, with special screenings of P.P. RIDER on the 6 & 7.
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Hong incorporates things from his experience that happened no more than a few days or weeks before shooting because these things “don’t belong to him.” They aren’t memories yet, which are a person’s property. He fully commits to intuitions: they belong to a universal current.
I know many disagree but Hong, to me, represents everything that’s great about cinema. There’s no pretension, only curiosity and patience, with a clear openness to letting as much life into a shot as possible. I can only hope he makes 1000 films.
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Two shots in Ozu’s DRAGNET GIRL and Shimizu’s JAPANESE GIRLS AT THE HARBOR show the same stretch of sidewalk. One time I found this location in Yokohama, and a tree (still standing) that appears in JAPANESE GIRLS and again in Shimizu’s FORGET LOVE FOR NOW.
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Films by Hong Sangsoo and Matías Piñeiro putting most everything to shame. They show how you can go forth into the world with a camera, a few actors, a text, some make-believe, a bit of form—and make discoveries.
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Darcy Paquet wrote a revealing text on Hong’s process and his concern for language. Not unrelated: the last time Hong was in New York, one of the few things he did was go to Westsider Books, where he bought the Complete Works of Montaigne.
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Ozu: "If I had to choose one or two, I'd say the best use of dissolves (*note: a technique Ozu hated) are for me the conversation between the women in Lubitsch's THE MARRIAGE CIRCLE..."
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I Walked With a Zombie (1943) Jacques Tourneur /
Floating Clouds (1955) Mikio Naruse
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Our interview with Michael Roemer on Carl Dreyer. In 1954, Roemer visited Dreyer in Copenhagen and spent a few days with him. We spoke about his memories of the man, what he learned from him, about the material and the abstract, his blue eyes that peered into you.
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Here is Shiguéhiko Hasumi on MOVING. Translated by Monika Uchiyama.
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A full translation of Godard’s text, from ‘El Fatah’ in 1970, can be read here:
Godard: “Our task now as revolutionaries in the field of anti-imperialist media is to resist with all our power, and to liberate ourselves from the chain of images imposed on us by imperialist ideology through its various apparatuses: newspapers - broadcast - cinema - books, etc”
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Straub and Huillet paraphrase from the July 19, 1916 entry of Kafka's diary in this dedication to João César Monteiro:
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Somai’s first criteria for casting: lung capacity. Auditions consisted of running up slopes or climbing something.
“All I need is air… Running takes a lot of air. Breathing in and out a lot of air is the basis of life.”
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Roadstead is an NFT streaming company; they also produced Kiyoshi Kurosawa’s CHIME and have blocked any and all theatrical exhibition of the film.
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"He lived like a prince, in poverty... he was always "Mr. João": popular among the people, implacable and fearsome to others... Against everything and against all—his fire, his glow, which I never, ever doubted."
Margarida Gil sent some words on the Monteiro news.
In 2025,
@CinemaGuild
will roll out a retrospective of newly restored films by João César Monteiro —
@DEADLINE
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Onibaba (1964) Kaneto Shindo #新藤兼人
Diary of a Shinjuku Thief (1969) Nagisa Oshima #大島渚
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This light at Kinuyo Tanaka's desk in Mizoguchi's WOMAN OF RUMOR, it's an indescribable something:
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A full Shinji Somai retrospective, online and in-person, at Shibuya Euro Space Feb. 6 - 19:
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Hideko Takamine and her partner, screenwriter Zenzo Matsuyama
#高峰秀子 #松山善三
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“I don't think there are any directors today who have that determination… But precisely because we live in such an era, the recklessness of P.P. RIDER gives us hope and courage.”
-K. Kurosawa to R. Sakamoto
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Thinking about TYPHOON CLUB as an "encampment" film: students occupying their school, existing where they ought not to, reshaping their world.
And about how Somai's decentralized, collaborative directing style was informed by the Japanese student movements of the 60s.
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Now on Film Comment:
Our interview with Michael Roemer on Carl Dreyer. In 1954, Roemer visited Dreyer in Copenhagen and spent a few days with him. We spoke about his memories of the man, what he learned from him, about the material and the abstract, his blue eyes that peered into you.
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Brecht admired Renoir’s MADAME BOVARY a lot, the “great award of this film.”
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“In 1964 one of the great film masterpieces, Dreyer's GERTRUD, was killed and buried by the critics (it played in Paris for one week)… Don't be stupid, go see OTHON (S-H)… make sure it won't suffer the same fate as GERTRUD.”
Marguerite Duras
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"If there's something to be learned here, it's about the filmmaker Shinji Somai... He has a sense of Eros that could even be called materialistic. The beauty of MOVING is that you can feel it vividly."
- Shigehiko Hasumi
We'll be showing Somai's film in the cinema next year.
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Buñuel's 1927 review of Keaton's COLLEGE, referenced in McElhaney's Hawks essay:
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Kaoru Yachigusa
#八千草薫
Pastoral: To Die in the Country (1974) Shuji Terayama
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Shinji Somai's statement from the 1985 press booklet for TYPHOON CLUB. Translation by Kohei Okita (
@yosonitewa
). Thank you to
@alexander_fee_
for letting me scan it.
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Independence, Missouri, where Carl Dreyer spent 4 1/2 months in 1949-50 finishing the manuscript for his Jesus film.
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Resting in the shade on the set of Howard Hawks' LAND OF THE PHARAOHS:
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“Somai looked lonely. Cigarettes go well with loneliness. We didn't talk much, we just drank. Beer, whiskey, and shochu… ‘Okay,’ I said, and Somai smiled. I thought about Somai, ‘He's a strong guy.’”
Somai featured in a cigarette ad, 1986.
Our new poster for Shinji Somai's MOVING.
The restoration premieres this Friday at Japan Society, before opening at Linc. Center Aug. 2.
Plus mini-retrospectives in NY and Los Angeles next month.
"Endowed with a sense of Eros that could even be called materialist." -Hasumi
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Tomu Uchida, Yukiko Todoroki and Yasujiro Ozu at Nikkatsu Studios in 1939
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1) Cézanne’s annotated copy of The Flowers of Evil.
2) Cézanne’s studies after Baudelaire’s ‘Une Charogne,’ which he was known to recite by heart as an old man.
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For anyone with a stake in films, who believes in them, who wants to see what they can do: please see this film. The only anarchist movie I know, made with total disregard for the morrow. A summer uprising. Two shows only, today & tomorrow, 7pm, IFC Center.
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Palestinian youths in the village of Sa'ir, northeast of Hebron, chase Israeli occupation vehicles by hurling stones.
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The Wrestler and the Clown (1957) Boris Barnet & Konstantin Yudin
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“Ernst Lubitsch will arrive in America on Thanksgiving. He wants to do modern stories of American life but his plans are still vague.”
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