Category Archives: FILM

JUDAS AND THE BLACK MESSIAH — SHAKA KING IN CONVERSATION

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I’m completely aware of the myriad of contradictions that exist not only to try and make a movie like this, but me just wanting to have the kind of career I want to have, and the politics that I have and all of those co-existing. — Shaka King

On the occasion of the release of JUDAS AND THE BLACK MESSIAH in theaters and on HBO Max, director Shaka King will join the film’s stars Daniel Kaluuya and Dominique Fishback in conversation.

Your r.s.v.p. includes a screener link to the film. Information below.

  JUDAS AND THE BLACK MESSIAH—SHAKA KING, DANILE KALUUYA, and DOMINIQUE FISHBACK IN CONVERSATION

American Cinematheque

Thursday, March 4.

6 pm on the West Coast, 9 pm East Coast.

  JUDAS AND THE BLACK MESSIAH

Written by Will Berson and Skaka King, directed by King.

HBO Max

Streaming through March 14.

Shaka King, Judas and the Black Messiah (2021), from top: Daniel Kaluuya (foreground center), Darrell Britt-Gibson (immediate left), and LaKeith Stanfield (second from right); Kaluuya and Britt-Gibson (left); Dominique Fishback and Kaluuya; Caleb Eberhardt (left), Britt-Gibson, Kaluuya, and Stanfield; Stanfield (foreground) and Kaluuya; Judas and the Black Messiah poster; Stanfield and Jesse Plemons; Martin Sheen; Dominque Thorne, Kaluuya, Britt-Gibson, and Eberhardt; director Shaka King and Kaluuya. Photographs by Glen Wilson, images courtesy and © the filmmaker and Warner Bros.

TRINH T. MINH-HA — FILMS

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TRINH T. MINH-HA—FILMS, the artist’s first institutional exhibition in Asia and the final presentation at NTU CCA Singapore’s current space, is on view through the end of the month.

Featuring six of her films—Forgetting Vietnam (2015), Night Passage (2004), The Fourth Dimension (2001), A Tale of Love (1995), Shoot for the Contents (1991), and the new work What about China? (Part I of II, 2020–21)—the show is complemented by the adjoining exhibition Trinh T. Minh-ha—Writings.

TRINH T. MINH-HA—FILMS is curated by Ute Meta Bauer. See link below for details.

TRINH T. MINH-HA—FILMS

Through February 28.

Nanyang Technological University

Centre for Contemporary Art

Block 43 Malan Road, Singapore.

Trinh T. Minh-ha, Films, Nanyang Technological University Centre for Contemporary Art, October 17, 2020–February 28, 2021. Images © Trinh T. Minh-ha, courtesy of the artist.

THE WOMEN OF STANDING ROCK

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Shannon Kring’s documentary END OF THE LINE—THE WOMEN OF STANDING ROCK is now streaming as part of this year’s Slamdance Film Festival.

Featuring never-before-seen law enforcement video surrendered by a disgraced officer, END OF THE LINE is the story of the indigenous women who establish a peaceful camp in protest of the $3.8 billion Dakota Access oil pipeline construction that desecrated ancient burial and prayer sites and threatens their land, water, and very existence.*

See Breakouts section in the link below for details to this World Premiere engagment.

END OF THE LINE—THE WOMEN OF STANDING ROCK*

Directed by Shannon Kring.

Slamdance Film Festival

Streaming through February 25.

Shannon Kring, End of the Line: The Women of Standing Rock (2021). Images courtesy and © the participants, the director, and Red Queen Media.

DEMONLOVER RESTORED

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No one sees anything. Ever. They watch, but they don’t understand. — Diane de Monx (Connie Nielson) in Demonlover

The minute people started using the word “content,” it led to this idea of software versus hardware. The culture has shifted in favor of hardware. People are not on the side of art, which becomes content. They’re on the side of the computer. The computer embodies power. People have gotten used to the fact that they are ready to invest in the hardware… But they have a major problem paying very little money to buy a newspaper or a film. That’s the moment when art becomes content. — Olivier Assayas

The 2K restoration of Assayas’ unrated director’s cut of DEMONLOVER is streaming now in Film at Lincoln Center’s Virtual Cinema. See link below for details.

DEMONLOVER

Written and directed by Olivier Assayas.

Film at Lincoln Center—Virtual Cinema

Now streaming.

Olivier Assayas, Demonlover (2002), from top: Connie Nielsen; Chloë Sevigny; Demonlover poster; Gina Gershon; Charles Berling; Demonlover. Images courtesy and © the filmmaker, MK2, and Janus Films.

SHOW ME WHAT YOU GOT

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I wanted to make a film about love, friendship, and sexuality among three people with the social currents of the times we live in today.

Performing as both director and cinematographer, I tried to create a sense of living realism where the environments, as much as the performances, seep into our awareness and shape our emotions. I wanted the camera to feel like another character experiencing an intimacy with the actors, but also have an omnipotent perspective that steps back at some moments, guiding the audience along on this journey through an unpredictable reality.

Our characters live in a film world that breaks the traditional rules of filmmaking to accompany their spirit of rebelling against social norms. — Svetlana Cvetko

Cvetko’s SHOW ME WHAT YOU GOT conveys an improvisational mood appropriate to its subject—the story of three twenty-somethings whose immediate and intimate love for one another provides a brief respite from life’s uncertainties and responsibilities. The three leads—Neyssan Falahi, Cristina Rambaldi, and Mattia Minasi—beautifully capture the easy-going receptivity required of such arrangements.

This contemporary homage to Jules et Jim opens today with an online weekend-long gala. It’s also streaming at Laemmle Virtual Cinema. See links below for details.

SHOW ME WHAT YOU GOT OPENING GALA and Q & A LIVESTREAM

Friday, February 12.

5 pm on the West Coast, 8 pm East Coast.

Event streams for 72 hours.

SHOW ME WHAT YOU GOT

Directed by Svetlana Cvetko.

Laemmle Virtual Cinema

Streaming through February 25.

Svetlana Cvetko, Show Me What You Got (2019) from top: Neyssan Falahi (left), Cristina Rambaldi, and Mattia Minasi (2); Show Me What You Got poster; Rambaldi; Falahi, Rambaldi, and Minasi. Images courtesy and © the filmmaker and Double Take Pictures.