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<body lang=EN-US link=blue vlink=purple style='tab-interval:.5in'>
<div class=WordSection1>
<p class=MsoNormal align=center style='margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;line-height:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>NEW
YORK FILM FESTIVAL</span></b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p></o:p></span></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>2015
� 53<sup>rd</sup> Festival<o:p></o:p></span></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>The </span><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:#0070C0'><a href="http://www.filmlinc.org/nyff2015/"><span
style='color:#0070C0'>2015 NYFF</span></a></span></b><span style='font-size:
12.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>
ended on 11 October.<span style='mso-spacerun:yes'>� </span>This Festival�the <b
style='mso-bidi-font-weight:normal'>53<sup>rd</sup> edition</b>�again under the
brilliant leadership of <b style='mso-bidi-font-weight:normal'>Kent Jones</b>
(Director of the NYFF) and <span class=SpellE><b style='mso-bidi-font-weight:
normal'>Lesli</b></span><b style='mso-bidi-font-weight:normal'> <span
class=SpellE>Klainberg</span></b> (Executor Director of the </span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:#0070C0'><a href="http://www.filmlinc.org/nyff2015/"><span
style='color:#0070C0'>Film Society of Lincoln Center</span></a></span></b><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>) was a <i style='mso-bidi-font-style:normal'>spectacular</i>
success!<br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>The <b style='mso-bidi-font-weight:normal'>Selection
Committee</b> (chaired by <b style='mso-bidi-font-weight:normal'>Kent Jones</b>,
and including <b style='mso-bidi-font-weight:normal'>Dennis Lim</b>, <span
class=SpellE>FSLC</span> Director of Programming; <b style='mso-bidi-font-weight:
normal'>Marian Masone</b>, <span class=SpellE>FSLC</span> Senior Programming
Advisor; <b style='mso-bidi-font-weight:normal'>Gavin Smith</b>,
Editor-in-Chief, <i style='mso-bidi-font-style:normal'>Film Comment</i>; and <b
style='mso-bidi-font-weight:normal'>Amy <span class=SpellE>Taubin</span></b>,
Contributing Editor, <i style='mso-bidi-font-style:normal'>Film Comment</i> and
<i style='mso-bidi-font-style:normal'>Sight & Sound</i>) put together an
incredible Festival, with a<b style='mso-bidi-font-weight:normal'> </b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:#0070C0'><a
href="http://www.filmlinc.org/nyff2015/sections/main-slate/"><span
style='color:#0070C0'>Main Slate</span></a></span></b><span style='font-size:
12.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'> of
26 wonderful selections (including: our very favorite of the 20 we saw, our
friend <b style='mso-bidi-font-weight:normal'>Arnaud <span class=SpellE>Desplechin<span
style='font-weight:normal'>�s</span></span></b> <b><i style='mso-bidi-font-style:
normal'><a href="#_Toc432356328">My Golden Days<span style='mso-bidi-font-weight:
normal'> (</span>Trois Souvenirs de ma <span class=SpellE>jeunesse</span>)</a></i></b>,
closely followed in our personal hierarchy by <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Nanni</b></span><b style='mso-bidi-font-weight:
normal'> Moretti</b>�s <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><a href="#_Toc432356329">Mia Madre</a></i></b>,
<b>Hong <span class=SpellE>Sangsoo<span style='font-weight:normal;mso-bidi-font-weight:
bold'>�s</span></span></b><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'> <a href="#_Toc432356330">Right Now, Wrong
Then</a></i></b>,<span style='mso-spacerun:yes'>� </span>and <b
style='mso-bidi-font-weight:normal'>Kiyoshi Kurosawa</b>�s <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><a href="#_Toc432356331">Journey
to the Shore</a></i></b>); an amazing series of </span><span style='font-size:
12.0pt;font-family:"Arial","sans-serif";color:#0070C0'><a
href="http://www.filmlinc.org/nyff2015/sections/special-events/"><span
style='color:#0070C0'>Special Events</span></a></span><span style='font-size:
12.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>
(including a fabulous 15<sup>th</sup> Anniversary screening of <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>O
Brother Where Art Thou</i></b>, and an exciting screening of <b
style='mso-bidi-font-weight:normal'>PT Anderson</b>�s <span class=SpellE><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Junun</i></b></span>,
two of our favorite things in the whole Festival); a great </span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:#0070C0'><a
href="http://www.filmlinc.org/nyff2015/sections/revivals/"><span
style='color:#0070C0'>Revivals</span></a></span></b><span style='font-size:
12.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>
series (we could only see one, <b style='mso-bidi-font-weight:normal'>De Palma</b>�s
<b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Blow-Out</i></b>);
<b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.org/nyff2015/sections/spotlight-on-documentary/">Spotlight
on Documentary</a></b> (a fabulous series, of which we were only able to see
one, but it was terrific: </span><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'>Immigration Battle/Reasons to Believe</span></i></b><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'>, by our friends<b
style='mso-bidi-font-weight:normal'> </b></span><strong><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Michael Camerini</span></strong><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>, <strong><span
style='font-family:"Arial","sans-serif"'>Shari Robertson</span></strong><strong><span
style='font-family:"Arial","sans-serif";font-weight:normal;mso-bidi-font-weight:
bold'>); </span></strong></span><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>a <span class=SpellE><b style='mso-bidi-font-weight:
normal'>Dorsky</b></span><b style='mso-bidi-font-weight:normal'>/<span
class=SpellE>Hiler</span></b> retrospective entitled �<b style='mso-bidi-font-weight:
normal'>Luminous Intimacy: The Cinema of Nathaniel <span class=SpellE>Dorsky</span>
and Jerome <span class=SpellE>Hiler</span></b>� (which we unfortunately were
unable to get to); </span><strong><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN;font-weight:normal;
mso-bidi-font-weight:bold'>[I review the films we saw in these three additional
segments of the Festival following my reviews of the Main Slate films]</span></strong><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>; and several other amazing series and events we were
just not able to avail ourselves of (due to our time constraints only)�<b
style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.org/nyff2015/sections/convergence/">Convergence</a></b>
(�a variety of interactive experiences, panels, and presentations�),</span><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:#454545;
mso-ansi-language:EN'> <b style='mso-bidi-font-weight:normal'><span lang=EN><a
href="http://www.filmlinc.org/nyff2015/sections/projections/">Projections</a></span></b><span
lang=EN> </span></span><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>(�a broad range of innovative modes and
techniques, including experimental narratives, avant-garde poetics, crossovers into
documentary and ethnographic realms, and contemporary art practices�) and</span><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:#454545;
mso-ansi-language:EN'> <b style='mso-bidi-font-weight:normal'><span lang=EN><a
href="http://www.filmlinc.org/nyff2015/sections/talks/">Talks</a></span></b></span><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>.<span style='mso-spacerun:yes'>� </span>It was a
fabulous, fun 16 days�during which time Nancy and I saw 24 films (we were
supposed to see 26, but we ended up just not being to do one of the Revivals
and one of the of the documentaries).<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>As always, the range of films in the NYFF was
extremely wide�ranging from obscure and very unusual, art films (to use an old
expression) to major Hollywood adventure films.<span style='mso-spacerun:yes'>�
</span>Given that range, is rather impossible for a person to like everything
in the NYFF.<span style='mso-spacerun:yes'>� </span>The only thing that unites
this diversity, however, is that all the films are great examples of what they
are�they are all excellent, even though some of them I actually disliked.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Some of these films are already in release,
or are being released this week: </span><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:Arial;color:black;mso-themecolor:
text1;mso-bidi-language:EN-US'>Steve Jobs</span></i></b><span style='font-size:
12.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>, <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>The
Walk</i></b>, <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>The Forbidden Room</i></b>, <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Bridge of Spies</i></b> </span><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-style:italic'>(<b
style='mso-bidi-font-weight:normal'>16 October</b>),</span><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1;mso-ansi-language:EN'> </span><b style='mso-bidi-font-weight:
normal'><i><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>The Assassin </span></i></b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-style:italic'>(<b
style='mso-bidi-font-weight:normal'>16 October</b>), and <span class=SpellE><b
style='mso-bidi-font-weight:normal'><i>Junun</i></b></span> is currently
available for streaming on <b style='mso-bidi-font-weight:normal'><a
href="https://mubi.com/"><span class=SpellE>MUBI</span></a></b>�but <b
style='mso-bidi-font-weight:normal'><i>only until 8 November</i></b>, so act
quickly, as you won�t want to miss it; and </span><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif"'>Immigration Battle/Reasons to Believe</span></i></b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-style:italic'>.will be
aired on <b style='mso-bidi-font-weight:normal'><i><a
href="http://www.pbs.org/wgbh/pages/frontline/pressroom/frontline-and-independent-lens-present-immigration-battle-on-oct-20-press-release-trailer/">Frontline</a></i></b>
on <b style='mso-bidi-font-weight:normal'>PBS</b> on <b style='mso-bidi-font-weight:
normal'>20 October</b>, and thereafter be available to stream on that website</span><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Due to time pressures this year, I am going to
do briefer assessments this year of the 24 films we saw�including, along with
my personal reactions and evaluations, the <b style='mso-bidi-font-weight:normal'>Film
Society</b>�s descriptions of the basic information about each film to save
time.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b
style='mso-bidi-font-weight:normal'><u><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>THE MAIN SLATE of FILMS IN THE FESTIVAL<o:p></o:p></span></u></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span
style='font-size:8.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'><o:p> </o:p></span></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span
style='font-size:8.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'><o:p> </o:p></span></p>
<p class=MsoToc1><!--[if supportFields]><span style='color:black;mso-themecolor:
text1'><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'>�</span>TOC \f \n \p " " \h \z <span
style='mso-element:field-separator'></span></span><![endif]--><span
class=MsoHyperlink><a href="#_Toc432398604"><span style='mso-bidi-language:
EN-US;mso-bidi-font-weight:bold'>My Golden Days</span><span style='mso-bidi-language:
EN-US'> (</span><span style='mso-bidi-language:EN-US;mso-bidi-font-weight:bold'>Trois
Souvenirs de ma jeunesse)</span></a></span><span style='font-size:11.0pt;
line-height:115%;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398605">Mia Madre</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398606"><span
style='mso-bidi-language:EN-US'>Right Now, Wrong Then</span></a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398607">Journey to
the Shore</a></span><span style='font-size:11.0pt;line-height:115%;font-family:
"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398608"><span
lang=EN style='mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN;mso-bidi-font-style:italic'>The Assassin</span></a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398609">Bridge of
Spies</a></span><span style='font-size:11.0pt;line-height:115%;font-family:
"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398610">Microbe
& Gasoline</a></span><span style='font-size:11.0pt;line-height:115%;
font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398611"><span
style='mso-fareast-font-family:Arial;mso-bidi-language:EN-US'>Steve Jobs</span></a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398612">Where to
Invade Next</a></span><span style='font-size:11.0pt;line-height:115%;
font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398613">The Mountains
May Depart</a></span><span style='font-size:11.0pt;line-height:115%;font-family:
"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398614">The
Forbidden Room</a></span><span style='font-size:11.0pt;line-height:115%;
font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398615">Miles Ahead</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398616">Carol</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398617">Experimenter</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398618"><span
style='mso-bidi-language:EN-US;mso-bidi-font-weight:bold'>Don�t Blink: Robert
Frank</span></a></span><span style='font-size:11.0pt;line-height:115%;
font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398619"><span
style='mso-bidi-language:EN-US'>The Lobster</span></a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398620">Maggie�s
Plan</a></span><span style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398621">The Walk</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398622">Brooklyn</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><a href="#_Toc432398623">Les Cowboys</a></span><span
style='font-size:11.0pt;line-height:115%;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
font-weight:normal;font-style:normal'><o:p></o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt'><!--[if supportFields]><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-element:field-end'></span></span><![endif]--><span style='font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='line-height:normal'><b><i style='mso-bidi-font-style:
normal'><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'>My Golden Days</span></i></b><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'> (<span style='mso-bidi-font-weight:bold'>Trois
Souvenirs de ma <span class=SpellE>jeunesse</span>)</span></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b>
TC "<span style='mso-bookmark:_Toc432398604'><span style='mso-bookmark:
_Toc432397473'><span style='mso-bookmark:_Toc432356328'><b><i style='mso-bidi-font-style:
normal'><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'>My Golden Days</span></i></b></span></span></span><span
style='mso-bookmark:_Toc432398604'><span style='mso-bookmark:_Toc432397473'><span
style='mso-bookmark:_Toc432356328'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'> (<span style='mso-bidi-font-weight:bold'>Trois
Souvenirs de ma jeunesse)</span></span></i></b></span></span></span>" \f C
\l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356328"></a><a name="_Toc432397473"></a><a name="_Toc432398604"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.<span
style='mso-spacerun:yes'>� </span></span></i></b><b><span style='font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Arnaud <span
class=SpellE>Desplechin</span>, France, 2015, <span class=SpellE>DCP</span>,
123m</span></b><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'> </span></i></b><b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>French with English subtitles<o:p></o:p></span></b></p>
<p class=Default style='line-height:normal'><b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=Default style='line-height:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>This latest film
from our friend <b>Arnaud <span class=SpellE>Desplechin</span></b> is a <i
style='mso-bidi-font-style:normal'>true masterpiece</i>.<span
style='mso-spacerun:yes'>� </span>My first reaction to seeing it was to feel
extraordinarily satisfied and thrilled by its depth, complexity, beauty, and
the profound emotional experience of watching it; the second�after the joy of
the first subsided a bit�was to want to see it again as soon as I possibly
can.<span style='mso-spacerun:yes'>� </span><b>Arnaud</b> explores human
psychology and the meaning of life and experience in a way that is as profound
as it is engaging, and it invites thinking about, re-watching, and thinking
more about.<span style='mso-spacerun:yes'>� </span>His entire body or work
seems to be an ever expanding, ever deepening journey into themes and
characters that move in and out of his films in various forms and versions.<span
style='mso-spacerun:yes'>� </span>But all this contained in totally satisfying,
dramatic presentations, beautifully filmed and excellently acted (and
directed).<span style='mso-spacerun:yes'>� </span>Short story: don�t miss this
one!<o:p></o:p></span></p>
<p class=Default style='line-height:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US;mso-bidi-font-weight:
bold'>Arnaud <span class=SpellE>Desplechin�s</span> alternately hilarious and
heartrending latest work is intimate yet expansive, a true autobiographical</span><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'> epic. Mathieu <span class=SpellE>Amalric</span>�Jean-Pierre
<span class=SpellE>L�aud</span> to <span class=SpellE>Desplechin�s</span>
Fran�ois Truffaut�reprises the character of Paul <span class=SpellE>D�dalus</span>
from the director�s groundbreaking <i>My Sex Life... or How I Got Into an
Argument</i> (NYFF, 1996), now looking back on the mystery of his own identity from
the lofty vantage point of middle age. <span class=SpellE>Desplechin</span>
visits three varied but interlocking episodes in his hero�s life, each more
surprising and richly textured than the next, and at the core of his film is
the romance between the adolescent Paul (Quentin <span class=SpellE>Dolmaire</span>)
and Esther (Lou Roy-<span class=SpellE>Lecollinet</span>). Most directors
trivialize young love by slotting it into a clich�d category, but here it is
ennobled and alive in all of its heartbreak, terror, and beauty. <i>Le Monde</i>
recently referred to <span class=SpellE>Desplechin</span> as �the most Shakespearean
of filmmakers,� and boy, did they ever get <i>that </i>right. <i>My Golden Days
</i>is a wonder to behold. <span class=GramE>A Magnolia Pictures release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;color:black;
mso-themecolor:text1'><o:p> </o:p></span></i></b></h3>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><a name="_Toc432397474"><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;mso-fareast-font-family:Calibri;mso-fareast-theme-font:
minor-latin;color:black;mso-themecolor:text1'>Mia Madre</span></i></b></a><!--[if supportFields]><span
style='mso-bookmark:_Toc432397474'></span><span style='mso-element:field-begin'></span><span
style='mso-bookmark:_Toc432397474'> TC "</span><span style='mso-bookmark:
_Toc432398605'><span style='mso-bookmark:_Toc432397475'><span style='mso-bookmark:
_Toc432356329'><span style='mso-bookmark:_Toc432397474'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;color:black;
mso-themecolor:text1'>Mia Madre</span></i></b></span></span></span></span><span
style='mso-bookmark:_Toc432397474'>" \f C \l "1" </span><span
style='mso-bookmark:_Toc432397474'></span><![endif]--><span style='mso-bookmark:
_Toc432397474'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;mso-fareast-font-family:Calibri;
mso-fareast-theme-font:minor-latin;color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356329"></a><a name="_Toc432397475"></a><a name="_Toc432398605"></a><![endif]></span></i></b></span><!--[if supportFields]><span
style='mso-bookmark:_Toc432397474'></span><span style='mso-element:field-end'></span><![endif]--><span
style='mso-bookmark:_Toc432397474'></span><span style='mso-bookmark:_Toc432397474'><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;mso-fareast-font-family:
Calibri;mso-fareast-theme-font:minor-latin;color:black;mso-themecolor:text1'>.<span
style='mso-spacerun:yes'>� </span><span class=SpellE>Nanni</span> Moretti,
Italy/France, 2015, <span class=SpellE>DCP</span>, <span class=GramE>106m<span
style='mso-spacerun:yes'>� </span>Italian</span> and English with English
subtitles</span></b></span><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;mso-fareast-font-family:Calibri;mso-fareast-theme-font:
minor-latin;color:black;mso-themecolor:text1'><o:p></o:p></span></b></h3>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;mso-fareast-font-family:Calibri;
mso-fareast-theme-font:minor-latin;color:black;mso-themecolor:text1'><o:p> </o:p></span></b></h3>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>What an amazing must-see film from <span
class=SpellE><b style='mso-bidi-font-weight:normal'>Nanni</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Manetti</span></b>!<span
style='mso-spacerun:yes'>� </span>It presents the complicated, emotionally
complex and intense story of a director�s dealing with her mother�s impending
death while directing a film.<span style='mso-spacerun:yes'>�
</span>Contraposed to this is the entrance onto the scene of her
extremely-flawed star, played brilliantly by <b style='mso-bidi-font-weight:
normal'>John <span class=SpellE>Turturro</span></b>�already inexcusably late to
the filming�who provides both another dimension to the drama, and a fair amount
of comic relief.<span style='mso-spacerun:yes'>� </span>It is an extraordinary
a performance by a great actor. <span style='mso-spacerun:yes'>�</span>It is
also an amazing film as a whole.<span style='mso-spacerun:yes'>� </span>I can�t
wait for it to be released�which it will be.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Margherita (Margherita Buy) is a middle-aged filmmaker
who has to contend with an international co-production starring a
mercurial American actor (John <span class=SpellE>Turturro</span>) and
with the realization that her beloved mother (Giulia <span class=SpellE>Lazzarini</span>)
is mortally ill. Underrated as an actor, director <span class=SpellE>Nanni</span>
Moretti offers a fascinating portrayal as Margherita�s brother, a quietly
abrasive, intelligent man with a wonderfully tamped-down generosity and warmth.
The construction of the film is as simple as it is beautiful: the chaos of the
movie within the movie merges with the fear of disorder and feelings of pain
and loss brought about by impending death. Mia Madre is a sharp and continually
surprising work about the fragility of existence that is by turns moving,
hilarious, and subtly disquieting. <span class=GramE>An Alchemy release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=Default style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Right Now, Wrong Then</span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-element:field-begin'></span></span></i></b> TC "<span
style='mso-bookmark:_Toc432398606'><span style='mso-bookmark:_Toc432397476'><span
style='mso-bookmark:_Toc432356330'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Right Now, Wrong Then</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356330"></a><a name="_Toc432397476"></a><a name="_Toc432398606"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-element:field-end'></span></span></i></b><![endif]--><b
style='mso-bidi-font-weight:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>.</span></b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-spacerun:yes'>� </span><b>Hong
<span class=SpellE>Sangsoo</span>, South Korea, 2015, <span class=SpellE>DCP</span>,
<span class=GramE>121m<span style='mso-spacerun:yes'>� </span>Korean</span>
with English subtitles<o:p></o:p></b></span></p>
<p class=Default style='line-height:normal'><b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=Default style='line-height:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>I came out of this
magnificent film thinking it was the best thing I had ever seen by <b>Hong</b>,
who is a director whose work Nancy and I have come to love as a result of
seeing many of his films in <span class=SpellE>NYFFs</span> over the
years.<span style='mso-spacerun:yes'>� </span>(<b>Hong</b> somehow manages to
do what seems to be one film a year, and they are almost always great enough to
be included in this very selective event.) In fact, talking to Kent Jones that
evening (who also adored it, BTW), I was reminded that <i style='mso-bidi-font-style:
normal'>most</i> of his works are similarly wonderful and I tend always to
think the current one is his best; and that it may be just that the intensity
of the wonderful experience of just seeing it makes it feel like it must be the
best, when there is actually a lot of competition for that in his oeuvre. In
some ways, all of his films are similar�almost all of them about a director
(sometimes successful, sometimes a failed one who has become an academic), all
about romantic relationships (often ones he shouldn�t be in; sometimes ones
that occurred before the current moment, sometimes during, and sometimes being
contemplated for the future); and often feeling like the extension of the same
story (although usually not).<span style='mso-spacerun:yes'>� </span>Yet each
is unique, different in ways that make each a novel experience that is totally
satisfying on its own.<span style='mso-spacerun:yes'>� </span>In a way, </span><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Right
Now, Wrong Then</span></i></b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'> feels much that
way within itself: it is divided into two equal stories, each starting with the
same title screen, and each nearly recreating the same story line, with the
same characters, and the same visuals�nearly, but not completely; in fact, each
version is SO subtly but importantly different that they are totally different
experiences, with totally different emotional feels and meanings. For a while I
wondered at the beginning of the second story whether he was reusing some of
the same footage, only to realize in one long, continuous take, that while
virtually the same, it was not�the key being that the male lead, while leaning
against the same pillar in the same courtyard, in the first instance was
looking down (in a way that made enough of an impact that I remembered that
detail later), while in the second his face was turned upward toward the
sun.<span style='mso-spacerun:yes'>� </span>It is an incredibly wonderful
juxtaposition, and a totally fabulous film�poignant, funny, and completely
riveting.<span style='mso-spacerun:yes'>� </span>I can�t wait to watch this one
again.<o:p></o:p></span></p>
<p class=Default style='margin-left:.5in;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Ham <span class=SpellE>Chunsu</span> (Jung <span
class=SpellE>Jaeyoung</span>) is an art-film director who has come to Suwon for
a screening of one of his movies. He meets Yoon <span class=SpellE>Heejung</span>
(Kim <span class=SpellE>Minhee</span>), a fledgling artist. She�s never seen any
of his films but knows he�s famous; he�d like to see her paintings and then go
for sushi and soju. Every word, every pause, every facial expression and every
movement, is a negotiation between revelation and concealment: too far over the
line for <span class=SpellE>Chunsu</span> and he�s suddenly a middle-aged man
on the prowl who uses insights as tools of seduction; too far for <span
class=SpellE>Heejung</span> and she�s suddenly acquiescing to a man who�s
leaving the next day. So they walk the fine line all the way to a tough and
mordantly funny end point, at which time� we begin again, but now with
different emotional dynamics. Hong <span class=SpellE>Sangsoo</span>,
represented many times in the NYFF, achieves a maximum of layered nuance with a
minimum of people, places, and incidents. He is, truly, a master.<span
style='mso-tab-count:1'>���� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Journey to the Shore</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398607'><span
style='mso-bookmark:_Toc432397477'><span style='mso-bookmark:_Toc432356331'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Journey to the Shore</span></i></b></span></span></span>"
\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356331"></a><a name="_Toc432397477"></a><a name="_Toc432398607"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span><span style='mso-bidi-font-weight:bold'>Kiyoshi
Kurosawa, Japan/France, 2015, <span class=SpellE>DCP</span>, <span class=GramE>127m<span
style='mso-spacerun:yes'>� </span>Japanese</span> with English subtitles</span></span></b><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Taken literally, this film would have given
me fits; but, in fact, I believe it is a magnificent metaphoric exploration of
the realities of loss and mourning�and therefore of living.<span
style='mso-spacerun:yes'>� </span>It is beautiful, poignant, and
entertaining.<span style='mso-spacerun:yes'>� </span>And, as always in the
films of <b style='mso-bidi-font-weight:normal'>Kurosawa</b> (not to be
confused with Akira), the film is subtle, meaningful, elegant, emotional, and
gorgeous.<span style='mso-spacerun:yes'>� </span><span class=GramE>In short, a
terrific film.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Based on Kazumi <span class=SpellE>Yumoto�s</span> 2010
novel, Kiyoshi Kurosawa�s latest film<i> </i>begins with a young widow named <span
class=SpellE>Mizuki</span> (<span class=SpellE>Eri</span> <span class=SpellE>Fukatsu</span>),
who has been emotionally flattened and muted by the disappearance of her
husband Yusuke (Tadanobu Asano). One day, from out of the blue or the black,
Yusuke�s ghost drops in, more like an exhausted and unexpected guest than a
wandering spirit. And then <i>Journey to the Shore </i>becomes a road movie: <span
class=SpellE>Mizuki</span> and Yusuke pack their bags, leave Tokyo, and travel
by train through parts of Japan that we rarely see in movies, acclimating
themselves to their new circumstances and stopping for extended stays with
friends and fellow pilgrims that Yusuke has met on his way through the
afterworld, some living and some dead. The particular beauty of <i>Journey</i> <i>to
the Shore </i>lies in its flowing sense of life as balance between work and
love, existence and nonexistence, you and me.<span style='mso-tab-count:1'>��������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l3 level1 lfo2;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;mso-ansi-language:
EN'><span style='mso-list:Ignore'>�<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><b style='mso-bidi-font-weight:normal'><i><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>The Assassin</span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc432398608'><span style='mso-bookmark:_Toc432397478'><span style='mso-bookmark:
_Toc432356332'><b style='mso-bidi-font-weight:normal'><i><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>The Assassin</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b style='mso-bidi-font-weight:normal'><i><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc432356332"></a><a name="_Toc432397478"></a><a name="_Toc432398608"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-style:italic'>. </span><b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'><span style='mso-spacerun:yes'>�</span><span
class=SpellE>Hou</span> Hsiao-<span class=SpellE>hsien</span>, </span></b><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>2015, Taiwan/China/Hong Kong, <span class=SpellE>DCP</span>,
105 <span class=GramE>minutes<span style='mso-spacerun:yes'>� </span>Mandarin</span>
with English subtitles. <a
href="http://www.filmlinc.org/films/the-assassin-2015/">Screening beginning 16
October Friday</a> at the Film Society�s <a
href="http://www.filmlinc.org/films/the-assassin-2015/">Elinor Bunin Munroe
Film Center</a>.</span></b><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l3 level1 lfo2;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;mso-ansi-language:
EN'><span style='mso-list:Ignore'>�<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>This is
without a doubt the most beautiful, most slow-paced �action film� ever
made.<span style='mso-spacerun:yes'>� </span>Of course, it really is not an
action film, but rather a gorgeous, languorous, visual symphony, punctuated
with occasional brief moments of action.<span style='mso-spacerun:yes'>�
</span>It has a quiet beauty that feels very much like gazing at traditional
Chinese landscape painting.<span style='mso-spacerun:yes'>� </span>There is a
plot, although three of the four of us watching it together were so involved in
relishing the visual richness that we were only vaguely aware of it. Even the
action scenes take place in breathtakingly beautiful settings.<span
style='mso-spacerun:yes'>� </span>It is an enormously successful work of art on
so many levels.<span style='mso-spacerun:yes'>� </span>It is an exquisite film.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>A <i>wuxia </i>like no other, <i>The
Assassin </i>is set in the waning years of the Tang Dynasty when provincial rulers
are challenging the power of the royal court. <span class=SpellE>Nie</span> <span
class=SpellE>Yinniang</span> (Shu Qi), who was exiled as a child so that her
betrothed could make a more politically advantageous match, has been trained as
an assassin for hire. Her mission is to destroy her former fianc� (Chang Chen).
But worry not about the plot, which is as old as the jagged mountains and deep
forests that bear witness to the cycles of power and as elusive as the mists
that surround them. <span class=SpellE>Hou</span> Hsiao-<span class=SpellE>hsien�s</span>
art is in the telling. The film is immersive and ephemeral, sensuous and spare,
and as gloriously beautiful in its candle-lit sumptuous red and gold decor as <span
class=SpellE>Hou�s</span> 1998 masterpiece, <i>Flowers of Shanghai</i>. As for
the fight scenes, they�re over almost before you realize they�ve happened, but
they will stay in your mind�s eye forever. <span class=GramE>A Well Go USA
release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Bridge of Spies</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398609'><span
style='mso-bookmark:_Toc432397479'><span style='mso-bookmark:_Toc432356333'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Bridge of Spies</span></i></b></span></span></span>"
\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356333"></a><a name="_Toc432397479"></a><a name="_Toc432398609"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1;mso-ansi-language:EN'><span
style='mso-spacerun:yes'>� </span><span style='mso-bidi-font-weight:bold'>Steven
Spielberg</span>, 2015, USA, <span class=SpellE>DCP</span>, 135 minutes<o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>OK�I was not looking forward to this one (I
don�t like most of <b style='mso-bidi-font-weight:normal'>Spielberg</b>�s work
since <i style='mso-bidi-font-style:normal'>Jaws</i>; and I haven�t much liked <b
style='mso-bidi-font-weight:normal'>Tom Hanks</b> in serious roles); but I
really enjoyed it! <b style='mso-bidi-font-weight:normal'>Hanks</b> gives a
fantastic performance in this film�overshadowed only by the fabulous
performance by <b style='mso-bidi-font-weight:normal'>Mark Rylance</b>; and the
film itself is a gripping, well-made movie that practically flies by despite
its 2 � hour length.<span style='mso-spacerun:yes'>� </span>(Hmm�the <b
style='mso-bidi-font-weight:normal'>Coen Brothers</b> did have a big hand in
writing this one...)<span style='mso-spacerun:yes'>� </span>It gets a bit
cheesy in spots, especially toward the end (<b style='mso-bidi-font-weight:
normal'>Spielberg</b> can�t help himself); but it is a good and <i
style='mso-bidi-font-style:normal'>very</i> entertaining film.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1;mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>The �bridge of spies� of the title refers to <span
class=SpellE>Glienicke</span> Bridge, which crosses what was once the
borderline between the Federal Republic of Germany and the GDR. In the time
from the building of the Berlin Wall to its destruction in 1989, there were
three prisoner exchanges between East and West. The first and most famous spy
swap occurred on February 10, 1962, when Soviet agent Rudolph Abel was traded
for American pilot Francis Gary Powers, captured by the Soviets when his U-2
reconnaissance plane was shot down over Sverdlovsk. The exchange was negotiated
by Abel�s lawyer, James B. Donovan, who also arranged for the simultaneous
release of American student Frederic Pryor at Checkpoint Charlie. Working from
a script by Matt <span class=SpellE>Charman</span> and Joel and Ethan Coen,
Steven Spielberg has brought every strange turn in this complex Cold War story
to vividly tactile life. With a brilliant cast, headed by Tom Hanks as Donovan
and Mark Rylance as Abel�two men who strike up an improbable friendship based
on a shared belief in public service. <span class=GramE>A Touchstone Pictures
release.</span><span style='mso-tab-count:1'>�������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Microbe & Gasoline</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398610'><span
style='mso-bookmark:_Toc432397480'><span style='mso-bookmark:_Toc432356334'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Microbe & Gasoline</span></i></b></span></span></span>"
\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356334"></a><a name="_Toc432397480"></a><a name="_Toc432398610"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span><span style='mso-bidi-font-weight:bold'>Michel
<span class=SpellE>Gondry</span>, France, 2015, <span class=SpellE>DCP</span>, <span
class=GramE>103m<span style='mso-spacerun:yes'>� </span>French</span> with
English subtitles<o:p></o:p></span></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>This was a
completely lovely film!<span style='mso-spacerun:yes'>� </span>Funny, clever,
touching�and much with a much lighter, more subtle touch than I expected from <b>Michel
<span class=SpellE>Gondry</span></b>.<span style='mso-spacerun:yes'>� </span>It
is an adolescent voyage of growth, discovery, and developing self-expression
well-worth going along for the ride with.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoListParagraphCxSpFirst style='margin-bottom:0in;margin-bottom:.0001pt;
mso-add-space:auto;line-height:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>The new
handmade-<span class=SpellE>SFX</span> comedy from Michel <span class=SpellE>Gondry</span>
(<i>Eternal Sunshine of the Spotless Mind</i>, <i>Be Kind Rewind</i>)<i> </i>is
set in an autobiographical key. Teenage misfits Microbe (Ange <span
class=SpellE>Dargent</span>) and Gasoline (<span class=SpellE>Th�ophile</span> <span
class=SpellE>Baquet</span>), one nicknamed for his size and the other for his
love of all things mechanical and fuel-powered, become fast friends. Unloved in
school and misunderstood at home�Microbe is overprotected, Gasoline is by turns
ignored and abused�they decide to build a house on wheels (complete with a
collapsible flower window box) and sputter, push, and coast their way to the
camp where Gasoline went as a child, with a stop along the way to visit
Microbe�s crush (Diane Besnier). <span class=SpellE>Gondry�s</span> visual
imagination is prodigious, and so is his cultivation of spontaneously generated
fun and off-angled lyricism, his absolute irreverence, and his emotional
frankness. This is one of his freshest and loveliest films. <span class=GramE>With
Audrey <span class=SpellE>Tatou</span> as Microbe�s mom.</span><o:p></o:p></span></p>
<p class=MsoListParagraphCxSpLast style='margin-bottom:0in;margin-bottom:.0001pt;
mso-add-space:auto;line-height:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l4 level1 lfo4;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:black;
mso-themecolor:text1;mso-ansi-language:EN'><span style='mso-list:Ignore'>�<span
style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1;mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l2 level1 lfo6;tab-stops:list .5in;background:white'><![if !supportLists]><span
style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:black;
mso-themecolor:text1;mso-bidi-language:EN-US'><span style='mso-list:Ignore'>�<span
style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:Arial;color:black;mso-themecolor:
text1;mso-bidi-language:EN-US'>Steve Jobs</span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US'><span
style='mso-element:field-begin'></span></span></i></b> TC "<span
style='mso-bookmark:_Toc432398611'><span style='mso-bookmark:_Toc432397481'><span
style='mso-bookmark:_Toc432356335'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:Arial;color:black;mso-themecolor:
text1;mso-bidi-language:EN-US'>Steve Jobs</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:Arial;color:black;mso-themecolor:
text1;mso-bidi-language:EN-US'><![if !supportNestedAnchors]><a
name="_Toc432356335"></a><a name="_Toc432397481"></a><a name="_Toc432398611"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US'><span
style='mso-element:field-end'></span></span></i></b><![endif]--><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:Arial;color:black;mso-themecolor:
text1;mso-bidi-language:EN-US'>.<span style='mso-spacerun:yes'>�
</span>Centerpiece.<span style='mso-spacerun:yes'>� </span>Danny Boyle, 2015,
USA, <span class=SpellE>DCP</span>.<span style='mso-spacerun:yes'>� </span></span></b><b
style='mso-bidi-font-weight:normal'><u><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1;mso-ansi-language:EN'>In theaters 23 October</span></u></b><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:Arial;color:black;mso-themecolor:
text1;mso-bidi-language:EN-US'><o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l2 level1 lfo6;tab-stops:list .5in;background:white'><![if !supportLists]><span
style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:black;
mso-themecolor:text1;mso-bidi-language:EN-US'><span style='mso-list:Ignore'>�<span
style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:Arial;color:black;mso-themecolor:text1;mso-bidi-language:
EN-US'>I did not expect to like this one, but I did.<span
style='mso-spacerun:yes'>� </span>I don�t know anything about Steve Jobs as a
person, and I don�t really <i style='mso-bidi-font-style:normal'>want</i> to
know anything about him as a person.<span style='mso-spacerun:yes'>� </span>But
<b style='mso-bidi-font-weight:normal'>Aaron Sorkin</b> threw me a curve ball,
and it got me: the film is structured in three parts, each centered on one of
three major product launches Jobs did, each shot in progressively high-tech
techniques (16mm for the Macintosh launch in 1984, 35mm for his NeXT in 1988,
and<span style='mso-spacerun:yes'>� </span>high-definition digital for the iMac
launch in 1998); and throughout it essentially focuses on his relationship with
his out-of-wedlock daughter�with all the stuff that people usually focus on
about Jobs happening instead around the edges (not insignificantly, of course,
but off-center).<span style='mso-spacerun:yes'>� </span><span class=GramE>Wonderfully
directed by <b style='mso-bidi-font-weight:normal'>Danny Boyle</b>, great
performance by <b style='mso-bidi-font-weight:normal'>Michael <span
class=SpellE>Fassbender</span></b> in the title role, and a great supporting
cast (including <b style='mso-bidi-font-weight:normal'>Kate Winslet</b>, <b
style='mso-bidi-font-weight:normal'>Katherine Waterston</b>, <b
style='mso-bidi-font-weight:normal'>Seth Rogen</b>, <b style='mso-bidi-font-weight:
normal'>Jeff Daniels</b>, and <b style='mso-bidi-font-weight:normal'>Michael <span
class=SpellE>Stuhlbarg</span></b>).</span><span style='mso-spacerun:yes'>�
</span>I don�t buy the emotional growth that is suggested, but a nice place to end
with it being a possibility�although the implied likelihood I suspect is more
imaginary than realistic.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:Arial;color:black;mso-themecolor:text1;mso-bidi-language:
EN-US'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US'>Anyone going to
this provocative and wildly entertaining film expecting a straight biopic of
Steve Jobs is in for a shock. Working from Walter Isaacson�s biography, writer
Aaron Sorkin (The Social Network, Charlie Wilson�s War) and director Danny
Boyle (Slumdog Millionaire, 127 Hours) joined forces to create this dynamically
character-driven portrait of the brilliant man at the epicenter of the digital
revolution, weaving the multiple threads of their protagonist�s life into three
daringly extended backstage scenes, as he prepares to launch the first
Macintosh, the NeXT work station and the iMac. We get a dazzlingly executed
cross-hatched portrait of a complex and contradictory man, set against the
changing fortunes and circumstances of the home-computer industry and the
ascendancy of branding, of products, and of oneself. The stellar cast includes
Michael <span class=SpellE>Fassbender</span> in the title role, Kate Winslet as
Joanna Hoffman, Seth Rogen as Steve Wozniak, Jeff Daniels as John <span
class=SpellE>Sculley</span>, Katherine Waterston as <span class=SpellE>Chrisann</span>
Brennan and Michael <span class=SpellE>Stuhlbarg</span> as Andy <span
class=SpellE>Hertzfeld</span>. <span class=GramE>A Universal Pictures release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l4 level1 lfo4;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:black;
mso-themecolor:text1;mso-ansi-language:EN'><span style='mso-list:Ignore'>�<span
style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Where to Invade Next</span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b>
TC "<span style='mso-bookmark:_Toc432398612'><span style='mso-bookmark:
_Toc432397482'><span style='mso-bookmark:_Toc432356336'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Where to
Invade Next</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><![if !supportNestedAnchors]><a name="_Toc432356336"></a><a
name="_Toc432397482"></a><a name="_Toc432398612"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>.<span style='mso-spacerun:yes'>� </span></span><b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>Michael
Moore, </span></b><b style='mso-bidi-font-weight:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>2015,
USA, <span class=SpellE>DCP</span>, 110 minutes<span style='mso-spacerun:yes'>�
</span>English, French, Portuguese, Italian, and German with English subtitles</span></b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>I have not liked <b style='mso-bidi-font-weight:
normal'>Michael Moore</b>�s films.<span style='mso-spacerun:yes'>� </span>It
has something to do with someone having vaguely similar positions that are not
presented in a way I like or find completely reasonable.<span
style='mso-spacerun:yes'>� </span>But I liked this one!<span
style='mso-spacerun:yes'>� </span>Don�t misunderstand: it contains all of the
worst of the purposeful (I think) naivet� and even deceptive misrepresentation
he is prone to.<span style='mso-spacerun:yes'>� </span>But the film is funny
and entertaining!<span style='mso-spacerun:yes'>� </span>It also serves as an
appropriately powerful (albeit not always accurate) critique of some of the
worst problems in the US�even if it simplifies and distorts some of them to the
point of absurdity.<span style='mso-spacerun:yes'>� </span>The Joint Chiefs of
Staff�bereft because they have lost every war since the big ones (WWI &
WWII), and not knowing what else to try�invite Moore�s help to deal with the
problems of the world.<span style='mso-spacerun:yes'>� </span><span
class=GramE>(Fun, absurdist comic premise!)</span><span
style='mso-spacerun:yes'>� </span>He �invades� various countries, primarily in
Europe, �conquers� them, and brings back the �spoils of war� in the form of
ideas he feels it would be good to adopt.<span style='mso-spacerun:yes'>�
</span>Be forewarned: the observations he makes about the good things in these
other countries are unrealistically distorted, and some downright wrong (to the
point of being deceptive).<span style='mso-spacerun:yes'>� </span>Nevertheless,
they do shine a spotlight on real problems in the US (although the observations
upon which they are based will be easily dismissed by anyone moved to object,
since they are <i style='mso-bidi-font-style:normal'>so</i> flawed); and even
here, his conspiracy theories are just wrong in a disturbing way.<span
style='mso-spacerun:yes'>� </span>His deepest insight (SPOILER ALERT): the
things we need are values <i style='mso-bidi-font-style:normal'>we invented</i>
but have lost sight of.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1;background:white'>Where <i style='mso-bidi-font-style:
normal'>are</i> we, as Americans? Where are we going as a country? And is it
where we <i style='mso-bidi-font-style:normal'>want</i> to go, or where we
think we <i style='mso-bidi-font-style:normal'>have</i> to go? Since <i
style='mso-bidi-font-style:normal'>Roger & Me </i>in 1989, Michael Moore
has been examining these questions and coming up with answers that are several
worlds away from the ones we are used to seeing and hearing and reading in
mainstream media, or from our elected officials. In his previous films, Moore has
taken on one issue at a time, from the hemorrhaging of American jobs to the
response to 9/11 to the precariousness of our healthcare system. In his new
film, he shifts his focus to the whole shebang and ponders the current state of
the nation from a very different perspective: that is, from the outside looking
in. <i style='mso-bidi-font-style:normal'>Where <span class=GramE>To</span>
Invade Next </i>is provocative, very funny, and impassioned�just like all of
Moore�s work. But it�s also pretty surprising.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-tab-count:2'>������������������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l2 level1 lfo6;tab-stops:list .5in;background:white'><![if !supportLists]><span
style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:black;
mso-themecolor:text1;mso-bidi-language:EN-US'><span style='mso-list:Ignore'>�<span
style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>The</span></i></b><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'> <b style='mso-bidi-font-weight:normal'>Mountains
May Depart</b></span></i><!--[if supportFields]><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-element:field-begin'></span></span></i></b> TC "<span
style='mso-bookmark:_Toc432398613'><span style='mso-bookmark:_Toc432397483'><span
style='mso-bookmark:_Toc432356337'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>The</span></i></b></span></span></span><span
style='mso-bookmark:_Toc432398613'><span style='mso-bookmark:_Toc432397483'><span
style='mso-bookmark:_Toc432356337'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'> <b style='mso-bidi-font-weight:normal'>Mountains May
Depart</b></span></i></span></span></span>" \f C \l "1" <![endif]--><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><![if !supportNestedAnchors]><a name="_Toc432356337"></a><a
name="_Toc432397483"></a><a name="_Toc432398613"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>.<span
style='mso-spacerun:yes'>� </span><span class=SpellE><span style='mso-bidi-font-weight:
bold'>Jia</span></span><span style='mso-bidi-font-weight:bold'> <span
class=SpellE>Zhangke</span>, China/France/Japan, 2015, <span class=SpellE>DCP</span>,
<span class=GramE>131m<span style='mso-spacerun:yes'>� </span><span
style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-weight:normal'>Mandarin</span></span></span></span></b><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";color:black;
mso-themecolor:text1'> and English with English subtitles<o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";color:black;mso-themecolor:text1'>This
is a good film, from a great director; but it is flawed: some bad casting; some
awkward discontinuities <span class=GramE>of style�which are</span> partly due
to the fact that part of it really <i style='mso-bidi-font-style:normal'>was</i>
filmed decades earlier, but still function awkwardly; and something quite dated
about the whole thing�feeling slightly like an old Soviet propaganda-tainted
drama.<span style='mso-spacerun:yes'>� </span>Nevertheless, <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Jia</b></span><b style='mso-bidi-font-weight:
normal'> <span class=SpellE>Zhangke<span style='font-weight:normal'>�s</span></span></b>
brilliance shows through in enough of the film to make it mostly entrancing<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>The plot of <span class=SpellE>Jia</span> <span
class=SpellE>Zhangke�s</span> new film is simplicity itself. <span
class=SpellE><span class=GramE>Fenyang</span></span><span class=GramE> 1999, on
the cusp of the capitalist explosion in China.</span> Shen Tao (Zhao Tao) has
two suitors�Zhang (Zhang Yi), an entrepreneur-to-be, and his best friend <span
class=SpellE>Liangzi</span> (Liang <span class=SpellE>Jin</span> Dong), who
makes his living in the local coal mine. Shen Tao decides, with a note of
regret, to marry Zhang, a man with a future. Flash-forward 15 years: the
couple�s son Dollar is paying a visit to his now-estranged mother, and everyone
and everything seems to have grown more distant in time and space� and then
further ahead in time, to even greater distances. <span class=SpellE>Jia</span>
is modern cinema�s greatest poet of drift and the uncanny, slow-motion feeling
of massive and inexorable change. Like his 2013 <i>A Touch of Sin</i>,<i>
Mountains May Depart</i> is an epically scaled canvas. But where<i> </i>the
former was angry and quietly terrifying,<i> </i>the latter is a heartbreaking
prayer for the restoration of what has been lost in the name of progress. <span
class=GramE>A Kino <span class=SpellE>Lorber</span> release.</span><span
style='mso-tab-count:2'>����������������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>The Forbidden Room</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398614'><span
style='mso-bookmark:_Toc432397484'><span style='mso-bookmark:_Toc432356338'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>The Forbidden Room</span></i></b></span></span></span>"
\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356338"></a><a name="_Toc432397484"></a><a name="_Toc432398614"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span><span class=GramE><span style='mso-bidi-font-weight:
bold'>Guy <span class=SpellE>Maddin</span> & Evan Johnson, Canada, 2015, <span
class=SpellE>DCP</span>, 120m.</span></span><span style='mso-bidi-font-weight:
bold'><span style='mso-spacerun:yes'>� </span></span></span></b><b
style='mso-bidi-font-weight:normal'><u><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1;mso-ansi-language:EN'>In theaters now</span></u></b><b><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>The visual montage
of the opening credits is one of the best things I�ve seen in years�and it is
without a doubt the most amazing set of opening credits ever.<span
style='mso-spacerun:yes'>� </span>Hard to describe this film (and the Film
Society�s description won�t begin to give you a hint about anything other than
the fabulous actors that play roles in it�and their list is only a tiny
fragment): it is an early 20<sup>th</sup> century submarine thriller meets T<i
style='mso-bidi-font-style:normal'>he Cabinet of Dr. <span class=SpellE>Caligari</span></i>,
Bergman meets Brecht, Dali meets Monty Python (and especially Terry
Gilliam).<span style='mso-spacerun:yes'>� </span>It is insane and it is
wonderful.<span style='mso-spacerun:yes'>� </span>The problem is that it should
have been a short.<span style='mso-spacerun:yes'>� </span>Although every piece
of this mad film is wonderfully worth seeing, trying to watch two hours of it
simply doesn�t work�for me it was at least three times as long as it should
have been, and that turned something terrific into something unsustainably
tedious.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>The
four-man <span class=GramE>crew of a submarine are</span> trapped underwater,
running out of air. A classic scenario of claustrophobic suspense�at least
until a hatch opens and out steps� a lumberjack? As this newcomer�s backstory
unfolds (and unfolds and unfolds in over a dozen outlandish tales), Guy <span
class=SpellE>Maddin</span>, cinema�s reigning master of feverish filmic
fetishism, embarks on a phantasmagoric narrative adventure of stories within
stories within dreams within flashbacks in a delirious globe-trotting <span
class=SpellE>mise</span> <span class=SpellE>en</span> abyme the equals of any
by the late <span class=SpellE>Ra�l</span> Ruiz. Collaborating with poet John <span
class=SpellE>Ashbery</span> and featuring sublime contributions from the likes
of Jacques <span class=SpellE>Nolot</span>, Charlotte <span class=SpellE>Rampling</span>,
Mathieu <span class=SpellE>Amalric</span>, legendary cult electro-pop duo
Sparks, and not forgetting muses Louis <span class=SpellE>Negin</span> and Udo
Kier, <span class=SpellE>Maddin</span> dives deeper than ever: only the
lovechild of Josef von Sternberg and Jack Smith could be responsible for this
insane magnum opus. <span class=GramE>A Kino <span class=SpellE>Lorber</span>
release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
Arial;color:black;mso-themecolor:text1;mso-bidi-language:EN-US'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
class=GramE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Miles Ahead</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398615'><span
style='mso-bookmark:_Toc432397485'><span style='mso-bookmark:_Toc432356339'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Miles Ahead</span></i></b></span></span></span>" \f
C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356339"></a><a name="_Toc432397485"></a><a name="_Toc432398615"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>.</span></span><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span></span><span class=GramE><b><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>Closing
Night.</span></b></span><b><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";color:black;
mso-themecolor:text1;mso-ansi-language:EN'><span style='mso-spacerun:yes'>�
</span></span></b><strong><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1;mso-ansi-language:EN'>Don
Cheadle</span></strong><strong><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1;mso-ansi-language:
EN;font-weight:normal;mso-bidi-font-weight:bold'>, </span></strong><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1;mso-ansi-language:
EN'>2015, USA, <span class=SpellE>DCP</span>, 100 minutes<o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1;mso-ansi-language:
EN'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1;mso-ansi-language:EN'>I went into this with trepidation,
and I came out unfortunately feeling my fears were confirmed.<span
style='mso-spacerun:yes'>� </span>I am devoted to the music Miles
created�particularly from the late 40s through the early 60s, and this film is centered
in the late 70s�a period when I actually did not like his music.<span
style='mso-spacerun:yes'>� </span>Although the film attempts to move back and
forth in time over various eras of his career, it gives extremely short shrift
to the end I love. </span><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Don Cheadle</span></b><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'> did an
excellent job acting the role of Miles, a far less good job directing the film,
and, to me, an extremely disappointing job of conceiving and writing the
film.<span style='mso-spacerun:yes'>� </span>It asserts the genius of Miles�s
music�and attempts to use some of it to convey that genius�but it does nothing
to explore it.<span style='mso-spacerun:yes'>� </span>(It is also annoying to
me to watch <span class=GramE>a film</span> about a great musician where the
actors are not actually playing the music you are hearing.<span
style='mso-spacerun:yes'>� </span>It is somewhat unavoidable, particularly with
jazz, where virtuosity is a prerequisite for performing it.)<span
style='mso-spacerun:yes'>� </span>It is far more an exploration of his sickness
than of his creativity; and Miles was, indeed, a sick, twisted character�and
not only in his later years, although <span class=GramE>then it</span> got
particularly crazy.<span style='mso-spacerun:yes'>� </span>[I also have another
prejudice here that I should make explicit: perhaps oddly for a psychoanalyst
(who is totally mesmerized and riveted by the exploration of personal history
and how it shapes a person�s personality and creative expression), I am not
interested in the psychobiography of artists or theorist; I want to learn about
them through their creative expression, letting that stand on its own in my
understanding of them.<span style='mso-spacerun:yes'>� </span>I�m sure it has
to do with my sense of the difference between knowing someone directly, first
hand in an actual relationship, and the inferential knowledge one learns from
their biographical facts.<span style='mso-spacerun:yes'>� </span>At least when
I know someone through his or her creative expression (whether it be painting,
music, literature, or even theoretical writings), I feel the relationship is
more first hand and personal, albeit only implicit.]<span
style='mso-spacerun:yes'>� </span>The beginning of the film was pretty
gripping, but it progressively lost me�and I felt it was a bit all over the
place.<span style='mso-spacerun:yes'>� </span>Would I have liked it if it were
more about the period I love in Miles�s work? Perhaps; but even then I know I
would have resented the focus on the aspects of his life around his music
rather than on the music itself.<span style='mso-spacerun:yes'>� </span>So,
once again, here is one you may enjoy, although it was not particularly
enjoyable for me.</span><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";color:black;mso-themecolor:text1;
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Miles Davis was one of the greatest artists of the 20th
century. And how do you make a movie about him? You get to know the man inside
and out and then you reveal him in full, which is exactly what Don Cheadle does
as a director, a writer, and an actor with this remarkable portrait of Davis,
refracted through his crazy days in the late-70s. Holed up in his Manhattan
apartment, wracked with pain from a variety of ailments and sweating for the
next check from his record company, dodging sycophants and industry executives,
he is haunted by memories of old glories and humiliations and of his years with
his great love Frances Taylor (Emayatzy Corinealdi). Every second of Cheadle�s
cinematic mosaic is passionately engaged with its subject: this is, truly, one
of the finest films ever made about the life of an artist. <span class=GramE>With
Ewan McGregor as Dave Brill, the �reporter� who cons his way into Miles�
apartment.</span> <span class=GramE>A Sony Pictures Classics release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Carol</span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b>
TC "<span style='mso-bookmark:_Toc432398616'><span style='mso-bookmark:
_Toc432397487'><span style='mso-bookmark:_Toc432356342'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Carol</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356342"></a><a name="_Toc432397487"></a><a name="_Toc432398616"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-tab-count:1'> </span> </span><b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>Todd
Haynes</span></b><b style='mso-bidi-font-weight:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>.<span
style='mso-spacerun:yes'>� </span>2015, USA, <span class=SpellE>DCP</span>, 118
minutes</span></b><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";color:black;mso-themecolor:text1;
mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Todd Haynes</span></b><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'> has directed a well-done, beautifully realized
adaptation of a novel by <b style='mso-bidi-font-weight:normal'>Patricia
Highsmith</b> about a Lesbian relationship in mid-20<sup>th</sup> century
America between two very different women (played wonderfully by <b
style='mso-bidi-font-weight:normal'>Cate Blanchett</b> and <b style='mso-bidi-font-weight:
normal'>Rooney Mara</b>).<span style='mso-spacerun:yes'>� </span>It was
gorgeously filmed by <b style='mso-bidi-font-weight:normal'>Ed Lachman</b>.<span
style='mso-spacerun:yes'>� </span>Most of the people I know who viewed it
completely loved it.<span style='mso-spacerun:yes'>� </span>I wanted to�and
expected to�both because of its thematic importance and my admiration for <b
style='mso-bidi-font-weight:normal'>Cate Blanchett</b>; but, unfortunately, I
did not.<span style='mso-spacerun:yes'>� </span>It was paced too slowly for me
(I find it interesting that I have no problem with the <i style='mso-bidi-font-style:
normal'>far</i> more slowly paced The <i style='mso-bidi-font-style:normal'>Assassin</i>
[<i style='mso-bidi-font-style:normal'>q.v.</i>, above], but very much did with
this; I hypothesize it is something about the difference of the aesthetic and
my sense of the meaningfulness of the pacing, but IDK); and I also just
couldn�t fully believe some aspects of it.<span style='mso-spacerun:yes'>�
</span>The amazingly expressive <b style='mso-bidi-font-weight:normal'>Blanchett</b>
clearly chose�or was directed to choose�to play her role with an extremely
restricted range of emotional expression, her face and posture almost frozen
throughout all but certain crucial moments.<span style='mso-spacerun:yes'>�
</span>I imagine the decision was to convey the contrast between her usually
repressed�albeit hardly constrained�mode and the emotionality she experienced
at key moments.<span style='mso-spacerun:yes'>� </span>That makes sense to me
in theory, but did not work for me in the actual experience of the film.<span
style='mso-spacerun:yes'>� </span>This film did not work for me, although
clearly it has great merit.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Todd
Haynes�s adaptation of Patricia Highsmith�s debut novel stars Cate Blanchett as
the titular Carol, a wealthy suburban wife and mother, and Rooney Mara as an
aspiring photographer who meet by chance, fall in love almost at first sight,
and defy the closet of the early 1950s to be together. Working with his
longtime cinematographer Ed Lachman and shooting on the Super-16 film he favors
for the way it echoes the movie history of 20th-century America, Haynes charts
subtle shifts of power and desire in images that are alternately luminous and
oppressive. Blanchett and Mara are both splendid; the erotic connection between
their characters is palpable from beginning to end, as much in its repression
as in eagerly claimed moments of expressive freedom. Originally published under
a pseudonym, <i>Carol</i> is Highsmith�s most affirmative work; Haynes has more
than done justice to the multilayered emotions evoked by it source material. <span
class=GramE>A Weinstein Company release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-tab-count:2'>������������������� </span><o:p></o:p></span></p>
<p class=Default style='line-height:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
class=GramE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Experimenter</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398617'><span
style='mso-bookmark:_Toc432397486'><span style='mso-bookmark:_Toc432356340'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Experimenter</span></i></b></span></span></span>" \f
C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356340"></a><a name="_Toc432397486"></a><a name="_Toc432398617"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span></span></b><b><span lang=EN style='font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
color:black;mso-themecolor:text1;mso-ansi-language:EN'>Michael <span
class=SpellE>Almereyda</span></span></b><b style='mso-bidi-font-weight:normal'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>,
2015, USA, <span class=SpellE>DCP</span>, 98 minutes</span></b><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>This movie started out to be terrific: a
rather gripping presentation of the famous research done by Stanley Milgram, in
which subjects were willing to administer what they believed were painful,
damaging, and potentially fatal levels of electric shocks to what they thought
were other subjects (actually a staff member on the experiment), simply because
they were directed to do so by a staff member�even though it had been made
clear to them at the outset that they could stop anytime they wanted.<span
style='mso-spacerun:yes'>� </span>The film was done cleverly, and effectively:
Milgram (portrayed by <b style='mso-bidi-font-weight:normal'>Peter <span
class=SpellE>Sarsgaard</span></b>) at times narrates the film, looking at the
audience while speaking to us; some of the scenes, particularly the flashbacks,
are filmed against static, grainy photographic backgrounds�often in black and
white, in contrast to the actors being in color.<span
style='mso-spacerun:yes'>� </span>Nevertheless, it took an unfortunate turn and
ended up going somewhere very strange�and unsuccessful for me�in its last half
hour: moving into the making of a cheesy television dramatization of Milgram�s
work (the actual TV show having starred William Shatner and Ossie Davis!) and
the sudden, somehow related decline of Milgram�s marriage, and the film then
became melodramatic and shallow�in sharp contrast to how powerful and deep it
had seemed at the beginning.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Michael
<span class=SpellE>Almereyda�s</span> brilliant portrait of Stanley Milgram,
the social scientist whose 1961, Yale-based �obedience study� reflected back on
the Holocaust and anticipated Abu Ghraib and other atrocities carried out by
ordinary people who were just following orders, places its subject in an
appropriately experimental cinema framework. The proverbial elephant in the
room materializes on screen; Milgram (Peter <span class=SpellE>Sarsgaard</span>)
sometimes addresses the camera directly as if to implicate us in his studies
and the unpleasant truths they reveal. Remarkably, the film evokes great
compassion for this uncompromising, difficult man, in part because we often see
him through the eyes of his wife (Winona Ryder, in a wonderfully grounded
performance), who fully believed in his work and its profoundly moral purpose. <span
class=SpellE>Almereyda</span> creates the bohemian-tinged academic world of the
1960s through the 1980s with an economy that Stanley Kubrick might have envied.
<span class=GramE>A Magnolia Pictures release.</span><o:p></o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='line-height:normal'><b><i style='mso-bidi-font-style:
normal'><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'>Don�t Blink: Robert Frank</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b>
TC "<span style='mso-bookmark:_Toc432398618'><span style='mso-bookmark:
_Toc432397489'><span style='mso-bookmark:_Toc432356343'><b><i style='mso-bidi-font-style:
normal'><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:
text1'>Don�t Blink: Robert Frank</span></i></b></span></span></span>" \f C
\l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356343"></a><a name="_Toc432397489"></a><a name="_Toc432398618"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.<span
style='mso-spacerun:yes'>� </span>Laura Israel, USA/Canada, 2015, <span
class=SpellE>DCP</span>, 82m</span></b><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>I <i style='mso-bidi-font-style:normal'>love</i>
<b style='mso-bidi-font-weight:normal'>Robert Frank</b>�s photography: <i
style='mso-bidi-font-style:normal'>The Americans</i> is a treasured and beloved
volume on my bookshelf.<span style='mso-spacerun:yes'>� </span>I enjoyed and
appreciated his film about The Rolling Stones�, <i style='mso-bidi-font-style:
normal'>Cocksucker Blues</i>, although its aesthetic was nowhere as dear to me
as that of his photography. But I did not really appreciate this documentary
about him and his work.<span style='mso-spacerun:yes'>� </span>I felt it didn�t
present the early photography adequately (a series of fleeting images, rather
than lingering on their power and beauty); and it felt disjointed and frenetic
to me.<span style='mso-spacerun:yes'>� </span>I was surprised, because <b
style='mso-bidi-font-weight:normal'>Laura Israel</b> was his long-time editor
and collaborator.<span style='mso-spacerun:yes'>� </span>I spoke with a couple
of knowledgeable friends after the screening, and it was separately the opinion
of both of them (who really liked the film, BTW), that it was probably because I
loved his early work and, they both suspected�correctly, it turns out�I am not
really a fan of his later work.<span style='mso-spacerun:yes'>� </span>They
both felt this documentary rather beautifully was done in a way that captured
his later style�and that it virtually was an extension of it.<span
style='mso-spacerun:yes'>� </span>So I present you with both takes. <o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>The life and work of Robert Frank�as a photographer and a
filmmaker�are so intertwined that they�re one in the same, and the vast amount
of territory he�s covered, from <i>The Americans </i>in 1958 up to the present,
is intimately registered in his now-formidable body of artistic gestures. From
the early �90s on, Frank has been making his films and videos with the
brilliant editor Laura Israel, who has helped him to keep things homemade and
preserve the illuminating spark of first contact between <span class=GramE>camera</span>
and people/places. <i>Don�t Blink </i>is Israel�s like-minded portrait of her
friend and collaborator, a lively rummage sale of images and sounds and
recollected passages and unfathomable losses and friendships that leaves us a
fast and fleeting imprint of the life of the Swiss-born man who reinvented
himself the American way, and is still standing on ground of his own making at
the age of 90.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1;mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=Default style='line-height:normal'><span class=GramE><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>The</span></i></b><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'> <b style='mso-bidi-font-weight:normal'>Lobster</b></span></i></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-element:field-begin'></span></span></i></b><span class=GramE> TC
"<span style='mso-bookmark:_Toc432398619'><span style='mso-bookmark:_Toc432397488'><span
style='mso-bookmark:_Toc432356341'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>The</span></i></b></span></span></span><span
style='mso-bookmark:_Toc432398619'><span style='mso-bookmark:_Toc432397488'><span
style='mso-bookmark:_Toc432356341'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'> <b
style='mso-bidi-font-weight:normal'>Lobster</b></span></i></span></span></span>"
\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356341"></a><a name="_Toc432397488"></a><a name="_Toc432398619"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-spacerun:yes'>� </span><span
class=SpellE><span style='mso-bidi-font-weight:bold'>Yorgos</span></span><span
style='mso-bidi-font-weight:bold'> Lanthimos, France/Netherlands/Greece/UK,
2015, <span class=SpellE>DCP</span>, 118m</span></span></b><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>The conceit of this film, while totally
far-fetched, was clever in a comic way�and the first segments of the film used
it to create some wonderfully funny moments.<span style='mso-spacerun:yes'>�
</span>But it does not have the substance to support the layering it attempts
or the darkness it goes to periodically; and I fear it ends up taking itself
too seriously for what it is.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Colin Farrell</b> is quite good, but the
film has trouble supporting the flat affect he maintains through most of it.<span
style='mso-spacerun:yes'>� </span><span class=GramE>Just too heavy-handed.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>In
the very near future, society demands that we live as couples. Single people
are rounded up and sent to a seaside compound�part resort and part
minimum-security prison�where they are given a finite number of days to find a
match. If they don�t succeed, they will be �altered� and turned into an animal.
The recently divorced David (Colin Farrell) arrives at The Hotel with his
brother, now a dog; in the event of failure, David has chosen to become a
lobster� because they live so long. When David falls in love, he�s up against a
new set of rules established by another, rebellious order: for romantics,
there�s nowhere to run, nowhere to hide. Welcome to the latest dark, <i>dark </i>comedy
from <span class=SpellE>Yorgos</span> Lanthimos (<i>Dogtooth</i>), <span
class=GramE>creator</span> of absurdist societies not <i>so </i>very different
from our own. With <span class=SpellE>L�a</span> Seydoux as the leader of the
Loners, Rachel Weisz as David�s true love, John C. Reilly, and Ben <span
class=SpellE>Whishaw</span>. <span class=GramE>An Alchemy release.</span> <o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
class=GramE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>Maggie�s Plan</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398620'><span
style='mso-bookmark:_Toc432397490'><span style='mso-bookmark:_Toc432356344'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Maggie�s Plan</span></i></b></span></span></span>"
\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356344"></a><a name="_Toc432397490"></a><a name="_Toc432398620"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>.</span></span><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'> </span><strong><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1;mso-ansi-language:EN'><span
style='mso-spacerun:yes'>�</span></span></strong><b><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>Rebecca
Miller</span></b><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";color:black;mso-themecolor:text1;
mso-ansi-language:EN;mso-bidi-font-weight:bold'>, </span><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>2015,
USA, <span class=SpellE>DCP</span>, 92 minutes<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>This is one of those times a film probably
suffered from my going in with high expectations: I came out very much not
liking it.<span style='mso-spacerun:yes'>� </span>There was something in its
humor that I felt uncomfortable about; and it was only in talking to a friend
after the screening who said she found it �mean,� that I understood my
discomfort�there was a kind of meanness to the humor and unpleasantness in the
naivet� of its world view.<span style='mso-spacerun:yes'>�� </span>But please
understand this in the context of my preferences and prejudices:<span
style='mso-spacerun:yes'>� </span>it is connected to the fact that, while I
found <i style='mso-bidi-font-style:normal'>Seinfeld</i> at times hilariously
funny, I never got into watching it, because I so disliked the characters; and
I cannot tolerate the humor of Larry David, although, similarly (of course), he
can be very funny.<span style='mso-spacerun:yes'>� </span>I point that out, because
I want to let you know you <i style='mso-bidi-font-style:normal'>may</i> really
like it. (Some I went with did.)<span style='mso-spacerun:yes'>� </span>I
always have some problems, too, with what <b style='mso-bidi-font-weight:normal'>Greta
<span class=SpellE>Gerwig</span></b> conveys in her performances in most of the
films I�ve seen her in.<span style='mso-spacerun:yes'>� </span>I sometimes like
<b style='mso-bidi-font-weight:normal'>Julianne Moore</b> very much, sometimes not
at all; and this performance unfortunately fell into the second category.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Rebecca Miller�s new film is as wise, funny, and
suspenseful as a Jane Austen novel. Greta <span class=SpellE>Gerwig</span>
shines brightly in the role of Maggie, a New School administrator on the verge of
completing her life plan with a donor-fathered baby when she meets John (Ethan
Hawke), a soulful but unfulfilled adjunct professor. John is unhappily married
to a Columbia-tenured academic superstar wound tighter than a coiled spring
(Julianne Moore). Maggie and the professor commiserate, share confidences, and
fall in love. And where most contemporary romantic comedies end, Miller�s film
is just getting started. In the tradition of Woody Allen and Paul Mazursky,
Miller approaches the genre of the New York romantic comedy with relish and
loving energy.<b> </b>With Bill Hader and Maya Rudolph as Maggie�s
married-with-children friends, drawn to defensive sarcasm like moths to a
flame, and Travis <span class=SpellE>Fimmel</span> as Maggie�s
donor-in-waiting.<span style='mso-tab-count:1'>���� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>The Walk</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398621'><span
style='mso-bookmark:_Toc432397491'><span style='mso-bookmark:_Toc432356345'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>The Walk</span></i></b></span></span></span>" \f C
\l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356345"></a><a name="_Toc432397491"></a><a name="_Toc432398621"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span></span></b><span class=GramE><b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'>Opening
Night.</span></b></span><b><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";color:black;
mso-themecolor:text1;mso-ansi-language:EN'> </span></b><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'><span
style='mso-spacerun:yes'>�</span><b>Robert <span class=SpellE>Zemeckis</span></b><b
style='mso-bidi-font-weight:normal'>, 2015, USA, 3-D <span class=SpellE>DCP</span>,
124 minutes. <span class=GramE><u>In theaters now</u>.</span><o:p></o:p></b></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";color:black;
mso-themecolor:text1;mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";color:black;mso-themecolor:text1;
mso-ansi-language:EN'>I was <i style='mso-bidi-font-style:normal'>dreading</i>
this.<span style='mso-spacerun:yes'>� </span>It turned out that it wasn�t as
bad as I was expecting; it was actually mildly entertaining.<span
style='mso-spacerun:yes'>� </span><span class=SpellE><b style='mso-bidi-font-weight:
normal'>Zemeckis</b></span> is <i style='mso-bidi-font-style:normal'>the</i>
master of action and special effects�and 3-D adds to this.<span
style='mso-spacerun:yes'>� </span>There were 20 minutes or so of terrific
action�and he does that <span class=GramE>better</span> than anyone. But the
hour leading up to it was slow, and nothing special at all�and when I learned
that <b style='mso-bidi-font-weight:normal'>Philippe Petit</b> is <i
style='mso-bidi-font-style:normal'>revered</i> by street performers as having
been, in his early years, the consummate practitioner of their art, I felt that
this hours was particularly wasted, as there was no sense of what <i
style='mso-bidi-font-style:normal'>could</i> have been in it.<span
style='mso-spacerun:yes'>� </span>And the several final minutes were filled
with the mindless, maudlin, sentimentality that ruins a <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Zemeckis</b></span> film if it is allowed
to enter in.<span style='mso-spacerun:yes'>� </span>If you watch it, however,
make sure to do it in 3-D, and on the biggest screen you can find (perfect for
IMAX); but, I�d suggest instead that you watch the wonderful documentary, James
Marsh�s 2008 documentary, <i style='mso-bidi-font-style:normal'>Man on Wire</i>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";color:black;mso-themecolor:text1;
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Robert <span class=SpellE>Zemeckis�s</span> magical and
enthralling new film, the story of Philippe Petit (winningly played by Joseph
Gordon-Levitt) and his walk between the World Trade Center�s Twin Towers, plays
like a heist movie in the grand tradition of<i> <span class=SpellE>Rififi</span>
</i>and<i> Bob le <span class=SpellE>flambeur</span></i>. <span class=SpellE>Zemeckis</span>
takes us through every detail�the stakeouts, the acquisition of equipment, the
elaborate planning and rehearsing that it took to get Petit, his crew of raucous
cohorts, and hundreds of pounds of rigging to the top of what was then the
world�s tallest building. When Petit steps out on his wire, <i>The Walk</i>, a
technical marvel and perfect 3-D re-creation of Lower Manhattan in the 1970s,
shifts into another heart-stopping gear, and <span class=SpellE>Zemeckis</span>
and his hero transport us into pure sublimity. <span class=GramE>With Ben
Kingsley as <span class=SpellE>Petit�s</span> mentor.</span> <span class=GramE>A
Sony Pictures release.</span><span style='mso-tab-count:1'>�������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><span style='mso-tab-count:1'>��������� </span></span><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";color:black;mso-themecolor:text1;mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Brooklyn</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398622'><span
style='mso-bookmark:_Toc432397492'><span style='mso-bookmark:_Toc432356346'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Brooklyn</span></i></b></span></span></span>" \f C
\l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356346"></a><a name="_Toc432397492"></a><a name="_Toc432398622"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span><span style='mso-bidi-font-weight:bold'>John
Crowley, UK/Ireland/Canada, 2015, 35mm/<span class=SpellE>DCP</span>, 112m<o:p></o:p></span></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>This is a beautifully
filmed movie, and many really liked it.<span style='mso-spacerun:yes'>�
</span>It was just far, <i style='mso-bidi-font-style:normal'>far</i> too
romantic for my taste; and it was not helped by the fact that I saw it
telegraphing exactly what <span class=GramE>its</span> (to me) predictable
ending was going to be very early in the story.<span style='mso-spacerun:yes'>�
</span>It was completely ruined for me, however, by the sappy, romantic
hyper-emotionality of the music (the worst kind of mawkish stuff�more strings
than ought to have been heard in the whole festival), which turned a beautiful
if overly romantic visual film into what for me was a painfully maudlin
experience of excess sentimentality.<span style='mso-spacerun:yes'>� </span>But
this is a direction that is, at best, problematic for me; there were those who
loved this film.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=Default style='margin-left:.5in;text-align:justify;line-height:normal'><span
style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>In
the middle of the last century, Eilis (Saoirse Ronan) takes the boat from
Ireland to America in search of a better life. She endures the loneliness of
the exile, boarding with an insular and catty collection of Irish girls in
Brooklyn. Gradually, her American dream materializes: she studies bookkeeping
and meets a handsome, sweet <i>Italian</i> boy (Emory Cohen). But then bad news
brings her back home, where she finds a good job and another handsome boy (<span
class=SpellE>Domhnall</span> Gleeson), this time from a prosperous family. On
which side of the Atlantic does Eilis�s future live, and with whom? Director
John Crowley (<i>Boy A</i>) and writer Nick Hornby haven�t just fashioned a
great adaptation of <span class=SpellE>Colm</span> <span class=SpellE>T�ib�n�s</span>
novel, but a beautiful <i>movie</i>, a sensitively textured re-creation of the
look and emotional climate of mid-century America and Ireland, with Ronan, as
quietly and vibrantly alive as a silent-screen heroine, at its heart. <span
class=GramE>A Fox Searchlight Pictures release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-tab-count:2'>������������������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span class=GramE><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'>Les Cowboys</span></i></b></span><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-begin'></span></span></i></b><span
class=GramE> TC "<span style='mso-bookmark:_Toc432398623'><span
style='mso-bookmark:_Toc432397493'><span style='mso-bookmark:_Toc432356347'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Les Cowboys</span></i></b></span></span></span>" \f
C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><![if !supportNestedAnchors]><a
name="_Toc432356347"></a><a name="_Toc432397493"></a><a name="_Toc432398623"></a><![endif]></span></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:black;mso-themecolor:text1'><span
style='mso-spacerun:yes'>� </span><span style='mso-bidi-font-weight:bold'>Thomas
<span class=SpellE>Bidegain</span>, 2015, France, <span class=SpellE>DCP</span>,
<span class=GramE>114m<span style='mso-spacerun:yes'>� </span>French</span> and
English with English subtitles<o:p></o:p></span></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif";
color:black;mso-themecolor:text1'>This is a very well-made, creative first film
by<b> Thomas <span class=SpellE>Bidegain</span></b><span style='mso-bidi-font-weight:
bold'>, which I almost liked very much, but ended up disliking.<span
style='mso-spacerun:yes'>� </span>It was just too full of hatred, bigotry, and
anger�without anything to make all that worth sitting through the experience
of.<span style='mso-spacerun:yes'>� </span>Moreover, despite the couple of
clear attempts to distance from the anti-Muslim prejudice it was portraying, I
could not remained convinced that the film itself really was free from it.<span
style='mso-spacerun:yes'>� </span>Of course, there were some ugly realities to
present; but I did not feel that point of view of the film had enough distance
from the bigoted views and actions of many of its characters�at <span
class=GramE>least,</span> the disowning was not nearly as convincing as the
dramatic presentation of it.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'>Country and Western enthusiast Alain (Fran�ois <span
class=SpellE>Damiens</span>) is enjoying an outdoor gathering of fellow
devotees with his wife and teenage children when his daughter abruptly
vanishes. Learning that she�s eloped with her Muslim boyfriend, he embarks on
increasingly obsessive quest to track her down. As the years pass and the trail
grows cold, Alain sacrifices everything, while drafting his son into his
efforts. The echoes of <i>The Searchers</i> are unmistakable, but the story
departs from John Ford�s film in unexpected ways, escaping its confining
European milieu as the pursuit assumes near-epic proportions in post-9/11
Afghanistan. This muscular debut, worthy of director Thomas <span class=SpellE>Bidegain�s</span>
screenwriting collaborations with Jacques <span class=SpellE>Audiard</span>,
yields a sweeping vision of a world in which the codes of the Old West no
longer seem to hold. <span class=GramE>A Cohen Media Group release.</span><span
style='mso-tab-count:1'>�������� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif";color:black;
mso-themecolor:text1'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;line-height:normal'><b style='mso-bidi-font-weight:normal'><u><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'><a
href="http://www.filmlinc.org/nyff2015/sections/special-events/">SPECIAL EVENTS</a><o:p></o:p></span></u></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l0 level1 lfo8;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;mso-ansi-language:
EN'><span style='mso-list:Ignore'>�<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'>O Brother, Where Art Thou</span></i></b><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'>.<span style='mso-spacerun:yes'>� </span></span></b><b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Joel and Ethan Coen, </span></b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>2000, USA, <span class=SpellE>DCP</span>,
107 minutes<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'>15th Anniversary Screening ∙ Coen brothers, cast, and musical guests
in person!<span style='mso-spacerun:yes'>� </span>Presented by <span
class=GramE>New Wave</span><o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'>One of my three <b style='mso-bidi-font-weight:normal'>Coen Brothers</b>
films, it was great to see this great film on the big screen.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>George
Clooney</b>, <b style='mso-bidi-font-weight:normal'>Tim Blake Nelson</b>, and <b
style='mso-bidi-font-weight:normal'>John <span class=SpellE>Turturro</span> </b>are
fabulous in this masterful spin on the <i style='mso-bidi-font-style:normal'>Odyssey</i>.<span
style='mso-spacerun:yes'>� </span>This one is always a pure joy to watch�but,
if you�ve seen it, you know that; and if you haven�t, go see it!<span
style='mso-spacerun:yes'>� </span>It was one of those special evenings, with
Joel and Ethan Coen there with the cast�on stage to introduce the film and for
a fun Q&A after it.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>This year marks the 15th anniversary of
Joel and Ethan Coen�s beloved roots-musical fantasia, �based upon <i>The
Odyssey</i>, by Homer,� about three escaped convicts (George Clooney, Tim Blake
Nelson, and John <span class=SpellE>Turturro</span>) trying to get back home in
the rural South of the 1930s. Bigger than life, endlessly surprising,
eye-popping (�they wanted it to look like an old hand-tinted picture,� said DP
Roger <span class=SpellE>Deakins</span>), and as giddily and defiantly
unclassifiable as all other Coen films, <i>O Brother, Where Art Thou? </i><span
class=GramE>is</span>, among many other things, a celebration of American
music. With a score curated and produced by T-Bone Burnett, the movie sings
with voices and sounds of some of the best musicians in the country, including
Ralph Stanley, the Fairfield Four, Alison Krauss, John Hartford, Emmylou
Harris, and Gillian Welch, and the melodies of classics like �Big Rock Candy
Mountain,� �I�ll Fly Away,� and the film�s touchstone, �Man of Constant
Sorrow.� Cast members, musical guests, and Joel and Ethan Coen will be on hand.
Bring your instrument! A Touchstone Pictures and Universal Pictures release.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l1 level1 lfo10;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;mso-ansi-language:
EN'><span style='mso-list:Ignore'>�<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span class=SpellE><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif"'>Junun</span></i></b></span><b><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>.<span style='mso-spacerun:yes'>�
</span>Paul Thomas Anderson, </span></b><b style='mso-bidi-font-weight:normal'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>2015, USA, <span class=SpellE>DCP</span>,
54 <span class=GramE>minutes<span style='mso-spacerun:yes'>� </span>English</span>,
Hindi, Hebrew, and Urdu with English subtitles. <a
href="http://www.theverge.com/2015/10/9/9488539/paul-thomas-anderson-junun-mubi-jonny-greenwood">Available
for streaming for the next 30 days on the <span class=SpellE>MUBI</span>
streaming service</a></span></b><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>This intensely wonderful 54 minute film
by PT Anderson was shot in February of this year in the Mehrangarh fort (a mere
4 months after I myself visited that magnificent piece of architecture, looming
high above the �Blue City� of Jodhpur in Rajasthan in India).<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Jonny
Greenwood</b>, an PT Anderson collaborator, famous from his role in Radiohead,
along with Radiohead producer <b style='mso-bidi-font-weight:normal'>Nigel <span
class=SpellE>Godrich</span></b>, are recording an album by Israeli
composer/guitarist <b style='mso-bidi-font-weight:normal'>Shye ben <span
class=SpellE>Tzur</span></b> in the fort, with an outstanding group of
musicians (listed below)�including a <span class=SpellE>qawalli</span> chorus,
some Hindu vocalists, and a brass section.<span style='mso-spacerun:yes'>�
</span>I had no idea what was going on�it was only halfway through the film
that I realized much of the singing was in Hebrew!<span
style='mso-spacerun:yes'>� </span>But I was thoroughly absorbed, entranced and
thrilled by the music, and totally captivated by the visuals�and particularly
by the shots of and from this 15<sup>th</sup> century fort I so like.<span
style='mso-spacerun:yes'>� </span>This was one of the most intense, wonderful
things in the whole festival�I cannot wait to see it again.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Earlier this year, Paul Thomas Anderson
joined his close friend and collaborator Jonny Greenwood on a trip to Rajasthan
in northwest India, where they were hosted by the Maharaja of Jodhpur, and he
brought his camera with him. Their destination was the 15th-century <span
class=SpellE>Mehrangarh</span> Fort, where Greenwood (with the help of longtime
friend and producer Nigel <span class=SpellE>Godrich</span>) was recording an
album by Israeli composer Shye Ben <span class=SpellE>Tzur</span> and an
amazing group of musicians: <span class=SpellE>Aamir</span> <span class=SpellE>Bhiyani</span>,
<span class=SpellE>Soheb</span> <span class=SpellE>Bhiyani</span>, <span
class=SpellE>Ajaj</span> <span class=SpellE>Damami</span>, Sabir <span
class=SpellE>Damami</span>, Hazmat, and <span class=SpellE>Bhanwaru</span> Khan
on brass; <span class=SpellE>Ehtisham</span> Khan <span class=SpellE>Ajmeri</span>,
<span class=SpellE>Nihal</span> Khan, <span class=SpellE>Nathu</span> Lal
Solanki, <span class=SpellE>Narsi</span> Lal Solanki, and <span class=SpellE>Chugge</span>
Khan on percussion; <span class=SpellE>Zaki</span> Ali <span class=SpellE>Qawwal</span>,
<span class=SpellE>Zakir</span> Ali <span class=SpellE>Qawwal</span>, <span
class=SpellE>Afshana</span> Khan, <span class=SpellE>Razia</span> Sultan, <span
class=SpellE>Gufran</span> Ali, and <span class=SpellE>Shazib</span> Ali on
vocals; and Dara Khan and <span class=SpellE>Asin</span> Khan on strings. The
finished film, just under an hour, is pure magic. <span class=SpellE>Junun</span>
lives and breathes music, music-making, and the close camaraderie of artistic
collaboration. It�s a lovely impressionistic mosaic and a one-of-a-kind sonic
experience: the music will blow your mind. <o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:-7.5pt;margin-bottom:
0in;margin-left:-7.5pt;margin-bottom:.0001pt;text-indent:-.25in;line-height:
normal;mso-list:l1 level1 lfo10;tab-stops:list .5in;background:white'><![if !supportLists]><span
lang=EN style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Symbol;
mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;mso-ansi-language:
EN'><span style='mso-list:Ignore'>�<span style='font:7.0pt "Times New Roman"'>
</span></span></span><![endif]><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'>De <span class=GramE>Palma<span style='font-weight:normal'><span
style='mso-spacerun:yes'>� </span></span><strong><span lang=EN
style='font-family:"Arial","sans-serif";mso-ansi-language:EN'>Noah</span></strong></span></span></b><strong><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'> <span class=SpellE>Baumbach</span></span></strong><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'> and <strong><span style='font-family:"Arial","sans-serif"'>Jake Paltrow</span></strong>
2015, USA, <span class=SpellE>DCP</span>, 107 minutes<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>Oy!<span
style='mso-spacerun:yes'>� </span>This documentary needs work: it is skillfully
done in places, except for the fact that it cannot support anywhere <i
style='mso-bidi-font-style:normal'>near</i> its two hour length, which
essentially makes it untenable.<span style='mso-spacerun:yes'>� </span>Also, I
have never liked <b style='mso-bidi-font-weight:normal'>Brian De Palma</b>.<span
style='mso-spacerun:yes'>� </span>In part, this can be attributable to my
dislike for violence in films�and that is a major part of many of what are
considered his better films; but there are other problems, as well.<span
style='mso-spacerun:yes'>� </span>His later films all have high production
values, but that actually I find a detriment to a mediocre picture.<span
style='mso-spacerun:yes'>� </span>I did feel that I got to know him better
through this documentary�but that made me end up liking him even less.<span
style='mso-spacerun:yes'>� </span>To me, the infuriating nadir of the story was
De Palma�s incessant comparisons to himself as being like Alfred Hitchcock!<span
style='mso-spacerun:yes'>� </span>Sure, he admires Hitchcock, and certainly he
even lifts themes and even scenes straight out of that master�s work; but he
has <i style='mso-bidi-font-style:normal'>nothing</i> of the elegance,
creativity, subtlety, or depth of Hitchcock�and that is probably most evident
in the heavy-handed and excessive way he uses violence.<span
style='mso-spacerun:yes'>� </span>(One of our guests actually expressed the
fantasy that he�d stay for the Q&A and get up and paraphrase Jack Bentsen�s
response to Dan Quayle in the 1988 Vice-presidential debate: �Senator, I served
with Jack Kennedy. I knew Jack Kennedy. Jack Kennedy was a friend of mine. Senator,
you're no Jack Kennedy.�<span style='mso-spacerun:yes'>� </span>Mr. De Palma,
you�re no Alfred Hitchcock!)<span style='mso-spacerun:yes'>� </span>Now being
Alfred Hitchcock is too high a criterion to require of a filmmaker; but making
that comparison for oneself is still the height of arrogance�and I feel
arrogance is one of the problems in De Palma�s filmmaking.<span
style='mso-spacerun:yes'>� </span>I all fairness, however, I should say that�on
Kent Jones�s specific urging�I went to a revival screening of <b
style='mso-bidi-font-weight:normal'>De Palma</b>�s <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Blow-Out</i></b>, and it was
actually quite good! (<i style='mso-bidi-font-style:normal'>q.v.</i>, below in
REVIVALS)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Noah <span class=SpellE>Baumbach</span> and Jake Paltrow�s fleet and
bountiful portrait covers the career of the number one iconoclast of American
cinema, the man who gave us <i>Carrie</i>,<i> Dressed to Kill</i>, <i>Blow Out</i>,
and <span class=SpellE><i>Carlito�s</i></span><i> Way</i>. Their film moves at the
speed of De Palma�s thought (and sometimes works in subtle, witty counterpoint)
as he goes title by title, covering his life from science nerd to New Hollywood
bad boy to grand old man, and describes his ever-shifting position in this
thing we call the movie business. Deceptively simple, <i>De Palma</i> is
finally many things at once. It is a film about the craft of filmmaking�how
it�s practiced and how it can be so easily distorted and debased. It�s an
insightful and often hilarious tour through American moviemaking from the 1960s
to the present, and a primer on how movies are made and unmade. And it�s a
surprising, lively, and unexpectedly moving portrait of a great, irascible,
unapologetic, and uncompromising New York artist. <i>In conjunction with this
film, we will also be showing De Palma�s masterpiece </i>Blow Out<i>. </i><span
class=GramE>An A24 release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
<p class=MsoNormal align=center style='margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;line-height:normal'><b style='mso-bidi-font-weight:normal'><u><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><a
href="http://www.filmlinc.org/nyff2015/sections/spotlight-on-documentary/">SPOTLIGHT
ON DOCUMENTARY</a><o:p></o:p></span></u></b></p>
<p class=MsoNormal align=center style='margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;line-height:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span lang=EN style='font-size:12.0pt;font-family:
"Arial","sans-serif";color:#454545;mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
class=GramE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>Immigration
Battle/Reasons to Believe</span></i></b><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'><span style='mso-spacerun:yes'>� </span></span></b><span
class=GramE><strong><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>Michael Camerini</span></strong><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>, <strong><span style='font-family:"Arial","sans-serif"'>Shari Robertson</span></strong><strong><span
style='font-family:"Arial","sans-serif";font-weight:normal;mso-bidi-font-weight:
bold'>, </span></strong><b style='mso-bidi-font-weight:normal'>2015, USA, <span
class=SpellE>DCP</span>, 111 minutes.</b></span></span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'><span style='mso-spacerun:yes'>� </span><u>Screening on <i
style='mso-bidi-font-style:normal'>Frontline</i></u></span></b><u><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'> <b style='mso-bidi-font-weight:normal'>on</b> <b style='mso-bidi-font-weight:
normal'>PBS</b> <b style='mso-bidi-font-weight:normal'>starting 20 October and
online thereafter</b></span></u><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
</ARTICLE>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>As
with all of <b style='mso-bidi-font-weight:normal'>Michael</b> and <b
style='mso-bidi-font-weight:normal'>Shari</b>�s films about the legislative
politics of immigration, this latest is a totally entertaining, absorbing,
informative, and important piece of filmmaking.<span style='mso-spacerun:yes'>�
</span>I learn more from their films about the inner workings of our government
and the nuances of immigration politics than I can from all my serious reading
on these issues�and I have <i style='mso-bidi-font-style:normal'>much</i> more
fun doing so.<span style='mso-spacerun:yes'>� </span>[Side light: the boxed set
of 10 DVDs of their early 12 series of feature length documentaries on the
movement of the immigration legislation through the Senate is available at the
moment on its website (<a href="http://www.howdemocracyworksnow.com">www.howdemocracyworksnow.com</a>)
for $20, although it usually sells for $200.]<span style='mso-spacerun:yes'>�
</span>This film, centered on the fight in the House following the passage of a
Senate Immigration bill, looks at how partisan politics scuttled the
process�and led to Obama�s intervention via Executive Order, still being
legally contested.<span style='mso-spacerun:yes'>� </span>It focuses on the
efforts of Illinois Democratic Congressman </span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>Luis Guti�rrez</span></b><span lang=EN style='font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>; but includes
positive inputs from Republicans you might not have expected it from.<span
style='mso-spacerun:yes'>� </span>It is a gripping drama�and a brilliant piece
of filmmaking.</span><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Michael Camerini and Shari Robertson have been chronicling the protracted
struggle for American immigration reform over the past 16 years, crossing the
country numerous times to film politicians and activists on both sides of this
great and divisive issue. They gained unprecedented fly-on-the-wall access to
the key players in Washington as they rode the momentum toward the passage of a
bipartisan bill, only to see it shot down, which meant that they had to begin
pushing the boulder back up the hill all over again. Two years ago, NYFF51
screened Camerini and Robertson�s series of immigration films, <i>How Democracy
Works</i>, and now we present <i>Immigration Battle</i>, their final film on
the subject. The key player this time is Democrat Luis Guti�rrez, the charismatic
U.S. Representative for the 4th congressional district of Illinois, who
negotiates his way through this political minefield�past an obstructionist
majority playing to an anti-immigrant base and a President who has just been
dubbed the �<span class=SpellE>Deporter</span>-in-Chief� by the pro-reform
community�while keeping his eyes firmly fixed on the prize. <span class=GramE>A
FRONTLINE (PBS) release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
class=SpellE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>Jia</span></i></b></span><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'> <span class=SpellE>Zangke</span>:
A Guy from <span class=SpellE>Fenyang</span>.</span></i></b><strong><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><span style='mso-spacerun:yes'>� </span><span class=SpellE>Hou</span>
Hsiao-<span class=SpellE>hsien</span></span></strong><strong><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN;font-weight:normal;mso-bidi-font-weight:bold'>, </span></strong><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>1983, Taiwan, <span
class=SpellE>DCP</span>, 101 <span class=GramE>minutes<span
style='mso-spacerun:yes'>� </span>Mandarin</span> with English subtitles<o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>I love <span class=SpellE><strong><span style='font-family:"Arial","sans-serif"'>Hou</span></strong></span><strong><span
style='font-family:"Arial","sans-serif"'> Hsiao-<span class=SpellE>hsien</span></span></strong><strong><span
style='font-family:"Arial","sans-serif";font-weight:normal;mso-bidi-font-weight:
bold'>, and I really like </span></strong></span><span class=SpellE><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'>Jia</span></i></b></span><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'> <span class=SpellE>Zangke</span></span></i></b><strong><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN;font-weight:normal;mso-bidi-font-weight:bold'>, but in the end we just
couldn�t get to see this one.</span></strong><b style='mso-bidi-font-weight:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'><o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:1.5in;margin-bottom:.0001pt;text-indent:.5in;line-height:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>This �group portrait of four laddish adolescents on the razzle in Kaohsiung
as they approach the onset of adult life� (Tony <span class=SpellE>Rayns</span>)
is <span class=SpellE>Hou</span> Hsiao-<span class=SpellE>hsien�s</span> fourth
film, but he has long considered it to be the real beginning of his career as a
moviemaker. �I had very intense feelings at the time,� <span class=SpellE>Hou</span>
told Sam Ho, �and I think the film has an intense energy. An artist�s early
work might be lacking in craft but, at the same time, be very powerful, very
direct. Later, when I wanted to return to that initial intensity, I no longer
could.� In the tradition of Fellini�s <i>I <span class=SpellE>Vitelloni</span></i>,
<i>The Boys from <span class=SpellE>Fengkuei</span></i> is a deeply personal
look back at the director�s own adolescence�at the boredom of living in the
middle of nowhere and the overwhelming need to get up and <i>move,</i> and get
out and away to the big city. A glorious young-man�s <span class=GramE>film,</span>
and the first great work of the Taiwanese New Wave. <span class=GramE><em><span
style='font-family:"Arial","sans-serif"'>Restored by the <span class=SpellE>Cin�math�que</span>
Royale de <span class=SpellE>Belgique</span> in collaboration with <span
class=SpellE>Hou</span> Hsiao-<span class=SpellE>hsien</span> and The Film
Foundation�s World Cinema Project.</span></em></span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;line-height:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;line-height:normal'><b style='mso-bidi-font-weight:normal'><u><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><a href="http://www.filmlinc.org/nyff2015/sections/revivals/">REVIVALS</a><o:p></o:p></span></u></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal'><span lang=EN
style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'>Blow Out</span></i></b><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'>.<span style='mso-spacerun:yes'>� </span></span></b><strong><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Brian De Palma</span></strong><strong><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN;font-weight:normal;
mso-bidi-font-weight:bold'>, </span></strong><b style='mso-bidi-font-weight:
normal'><span lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>1981, USA, <span class=SpellE>DCP</span>, 107 minutes</span></b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
</ARTICLE>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>This
one was a surprise: I do not like <b style='mso-bidi-font-weight:normal'>De
Palma</b> (<i style='mso-bidi-font-style:normal'>q.v.</i>, above in SPECIAL
EVENTS), and I have never liked any of his films�and I have thoroughly detested
some.<span style='mso-spacerun:yes'>� </span>But this one was good!<span
style='mso-spacerun:yes'>� </span>Not <span class=GramE>great,</span> and
probably benefited from my exceedingly low expectations of it; but we all
enjoyed it thoroughly. <span style='mso-spacerun:yes'>�</span>A good mystery,
with major pieces lifted from/and homage to Antonioni�s <i style='mso-bidi-font-style:
normal'>Blow-Up</i> (a <i style='mso-bidi-font-style:normal'>far</i> better
film, of course), and a comic direct lifting of a scene ripped out of
Hitchcock�s <span class=SpellE><i style='mso-bidi-font-style:normal'>Pyscho</i></span>;
but it worked.<span style='mso-spacerun:yes'>�� </span>And it was undoubtedly
the best performance by John Travolta ever.<span style='mso-spacerun:yes'>�
</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>One of Brian De Palma�s greatest films and one of the great American films
of the 1980s, <i>Blow Out</i> is such a hallucinatory, emotionally and visually
commanding experience that the term �thriller� seems insufficient. De Palma takes
a variety of elements�the Kennedy assassination; Chappaquiddick; Antonioni�s <i>Blow-Up</i>;
the slasher genre that was then in full flower; elements of Detective Bob <span
class=SpellE>Leuci�s</span> experiences working undercover for the Knapp
Commission; the harshness and sadness of American life; and, as ever,
Hitchcock�s <i>Vertigo</i>�and swirls and mixes them into a film that builds to
a truly shattering conclusion. With John Travolta, in what is undoubtedly his
greatest performance, as the sound man for low-budget movies who accidentally
records a murder; Nancy Allen, absolutely heartbreaking, as the girl caught in
the middle; John Lithgow as the hired killer; and De Palma stalwart Dennis
Franz as the world�s biggest sleaze. This was the second of three
collaborations between De Palma and the master DP <span class=SpellE>Vilmos</span>
<span class=SpellE>Zsigmond</span>. <span class=GramE>An MGM/Park Circus
release.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;
font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><a name="_Toc432397494"><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
lang=EN style='font-size:12.0pt;mso-ansi-language:EN'>Heaven Can Wait</span></i></b></a><span
style='mso-bookmark:_Toc432397494'><b style='mso-bidi-font-weight:normal'><span
lang=EN style='font-size:12.0pt;mso-ansi-language:EN'>.<span
style='mso-spacerun:yes'>� </span>Ernst <span class=GramE>Lubitsch ,</span>
1943, 35mm, 112 minutes</span></b></span><b style='mso-bidi-font-weight:normal'><span
lang=EN style='font-size:12.0pt;mso-ansi-language:EN'><o:p></o:p></span></b></h3>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:
normal'><span lang=EN style='font-size:12.0pt;mso-ansi-language:EN'><o:p> </o:p></span></b></h3>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><a name="_Toc432397495"><span
lang=EN style='font-size:12.0pt;mso-ansi-language:EN'>We actually didn�t see
this one�just couldn�t schedule it in; but I wish we had! The opportunity to
see it on the big screen is very special�</span></a><span lang=EN
style='font-size:12.0pt;mso-ansi-language:EN'><o:p></o:p></span></h3>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><span lang=EN
style='font-size:12.0pt;mso-ansi-language:EN'><o:p> </o:p></span></h3>
<h3 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;
margin-bottom:.0001pt'><a name="_Toc432397496"><span lang=EN style='font-size:
12.0pt;mso-ansi-language:EN'>The legendary Ernst Lubitsch�s portrait of a
turn-of-the-century hedonist extraordinaire begins at the gate of hell�not
Dante�s Inferno but a handsome art-deco waiting room, where a courtly Satan
(Laird </span></a><span class=SpellE><span style='mso-bookmark:_Toc432397496'><span
lang=EN style='font-size:12.0pt;mso-ansi-language:EN'>Cregar</span></span></span><span
style='mso-bookmark:_Toc432397496'><span lang=EN style='font-size:12.0pt;
mso-ansi-language:EN'>) conducts an admission interview with the recently
deceased Henry Van Cleve (Don <span class=SpellE>Ameche</span>). Henry�s
leisurely stroll through the past is a very funny comedy of manners and a
lovely rendering of Old New York. Lubitsch�s writing with Samson <span
class=SpellE>Raphaelson</span> � Satan: �I presume your funeral was satisfactory.�
Henry: �Well, there was a lot of crying, so I believe everybody had a good
time.��and his meticulous direction are all of a piece. The film�s glorious,
candy-box Technicolor has now been beautifully restored by <span class=SpellE>Schawn</span>
<span class=SpellE>Belston</span> and his team at 20<sup>th</sup> Century Fox,
just in time for the 100<sup>th</sup> Anniversary of the Fox Film Corporation.
With Gene Tierney, Louis <span class=SpellE>Calhern</span>, Eugene <span
class=SpellE>Pallette</span>, Marjorie Main, and Charles Coburn as Henry�s
grandfather and fellow black sheep. <span class=GramE><em><span
style='font-family:"Arial","sans-serif"'>Restored by 20th Century Fox in
collaboration with the Academy Film Archive and The Film Foundation.</span></em></span>
A 20th Century Fox release.</span></span><span lang=EN style='font-size:12.0pt;
mso-ansi-language:EN'><o:p></o:p></span></h3>
<h3 style='margin-bottom:0in;margin-bottom:.0001pt'><span lang=EN
style='font-size:12.0pt;mso-ansi-language:EN'><o:p> </o:p></span></h3>
</SECTION>
<p class=MsoNormal style='margin-top:0in;margin-right:22.5pt;margin-bottom:
0in;margin-left:0in;margin-bottom:.0001pt;line-height:normal;background:white'><span
class=GramE></SECTION><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'>Ran</span></i></b><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Arial","sans-serif"'>.</span></b></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif"'> </span></b><strong><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'><span
style='mso-spacerun:yes'>�</span>Akira Kurosawa</span></strong><strong><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN;font-weight:normal;mso-bidi-font-weight:bold'>, </span></strong><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>1985, Japan/France, <span
class=SpellE>DCP</span>, 160 <span class=GramE>minutes<span
style='mso-spacerun:yes'>� </span>Japanese</span> with English subtitles</span></b><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>We also
ended up not being able to see this one, one of the masterpieces of this great
filmmaker.<span style='mso-spacerun:yes'>� </span><span class=GramE>(Although,
to be honest, I know it to be <i style='mso-bidi-font-style:normal'>far</i> too
violent for my tastes.)</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal'><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>The 1985 New York Film Festival opened with Akira Kurosawa�s astonishing
medieval epic, inspired by the life of Mori <span class=SpellE>Motonari</span>,
a 16th-century warlord with three sons. It was only after he began writing that
the filmmaker started to see parallels with <i>King Lear</i>. It took a decade
for Kurosawa to bring his grand conception to the screen�he actually painted
storyboards of every shot along the way, and made another great film, <span
class=SpellE><i>Kagemusha</i></span>, as a dry run. The finished work he
eventually gave us is, to put it mildly, a mind-blowing experience. Tatsuya <span
class=SpellE>Nakadai</span> is the warlord, Akira <span class=SpellE>Terao</span>,
<span class=SpellE>Jinpachi</span> <span class=SpellE>Nezu</span>, and Daisuke <span
class=SpellE>Ryu</span> are his sons, Mieko Harada is the terrifying Lady <span
class=SpellE>Kaede</span>, the score is by Toru <span class=SpellE>Takemitsu</span>,
but the dominant force looming over every single element of this film, down to
the smallest detail, is Kurosawa himself. The color palette of <i>Ran</i> is
unlike that of any other movie made before or since, as you�ll see in this
newly restored version. <span class=GramE><i>Restoration by <span class=SpellE>StudioCanal</span>
with the participation of <span class=SpellE>Kadokawa</span> Pictures.</i></span><i>
</i><span class=GramE>A Rialto Pictures release.</span> <o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;line-height:normal;background:white'><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><o:p> </o:p></span></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><a
href="http://www.rlrubens.com/nyff.html"><i>Return to NYFF Reviews main page. </i></a></p>
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