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<p class=MsoNormal><span style='font-family:Georgia'><a
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<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:Georgia'>September
29, 2006<o:p></o:p></span></b></p>
<p class=MsoNormal><b><span style='font-family:Georgia;color:#666666;
text-transform:uppercase'><NYT_KICKER>Critic's Notebook<o:p></o:p></span></b></p>
</NYT_KICKER>
<h1><NYT_HEADLINE type=" " version="1.0"><st1:State w:st="on"><st1:place w:st="on"><span
style='font-family:Georgia'>New York</span></st1:place></st1:State><span
style='font-family:Georgia'> Film Festival Quietly Demands Attention <o:p></o:p></span></NYT_HEADLINE></h1>
<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:Georgia'><NYT_BYLINE type=" " version="1.0">By
A.O. SCOTT<o:p></o:p></span></b></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'></NYT_BYLINE><NYT_TEXT>The Walter Reade Theater, home of the <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/f/film_society_of_lincoln_center/index.html?inline=nyt-org"
title="More articles about Film Society of Lincoln Center">Film Society of
Lincoln Center</a> and the primary screening site for the New York Film
Festival, used to be connected to the rest of the <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/l/lincoln_center_for_the_performing_arts/index.html?inline=nyt-org"
title="More articles about Lincoln Center for The Performing Arts">Lincoln
Center</a> complex by a wide plaza that stretched across West 65th Street.
Because of the elaborate reconstruction and expansion of <st1:place w:st="on"><st1:PlaceName
w:st="on">Lincoln</st1:PlaceName> <st1:PlaceType w:st="on">Center</st1:PlaceType></st1:place>
in progress, that familiar bridge is gone, and the broad stairway that rose
from Broadway over Alice Tully Hall is closed. To reach the mezzanine where the
Walter Reade sits, you now must climb a narrow stairway tucked into the middle
of the block (an escalator and elevators are also available), and from the top
of it you look across 65th at Avery Fisher Hall and the <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/m/metropolitan_opera/index.html?inline=nyt-org"
title="More articles about the Metropolitan Opera.">Metropolitan Opera</a>
House as though gazing from a lonely parapet over a moat full of taxicabs. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>The physical separation of the theater from its <st1:place w:st="on"><st1:PlaceName
w:st="on">Lincoln</st1:PlaceName> <st1:PlaceType w:st="on">Center</st1:PlaceType></st1:place>
siblings is temporary of course, but it suggests a metaphor for the festival,
which is an increasingly unusual outcropping on the cultural landscape. Film
festivals crowd the calendar and circle the globe, but <st1:State w:st="on"><st1:place
w:st="on">New York</st1:place></st1:State>�s is different. Instead of hundreds
of films, it presents a few dozen, and it presents them, for the most part, one
at a time, rather than in a frenzy of <span class=SpellE>overscheduling</span>.
It is neither a hectic marketplace nor a pre-Oscar buzz factory, like <st1:City
w:st="on">Cannes</st1:City> or <st1:City w:st="on"><st1:place w:st="on">Toronto</st1:place></st1:City>,
or a film industry frat party, like Sundance. Its tone tends to be serious,
sober, and perhaps sometimes a little sedate, even when the movies it shows are
daring and provocative.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>If I may trot out another metaphor, the New York Film Festival
might be compared to an established, somewhat exclusive boutique holding its
own in a world of big box superstores, oversize shopping malls and Internet
retailers. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>If you want quantity � racks and shelves full of stuff to sort
through in the hope of finding something that might fit your taste � wait for <span
class=SpellE>Tribeca</span>, with its grab-bag programs and crowd-pleasing
extras. The New York Film Festival, in contrast, prides itself on quality, refinement
and selectivity. It is not so much programmed as <span class=SpellE>curated</span>.
This selection is a form of criticism � it involves applying aesthetic
standards and deciding that some films are better than others � and to
understand this festival it helps to understand that its selection committee,
led by Richard <span class=SpellE>Pe�a</span>, the festival�s program director,
is made up of film critics. This year�s movies were chosen by Mr. <span
class=SpellE>Pe�a</span>; Kent Jones, associate programmer at the Film Society
and editor at large of Film Comment; Lisa <span class=SpellE>Schwarzbaum</span>
of Entertainment Weekly; John Powers of Vogue; and Phillip <span class=SpellE>Lopate</span>,
editor of the recently published Library of America anthology of American movie
criticism and an all-around man of letters. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>These critics, like others in their profession, incline toward
material that is sometimes described as difficult or challenging, but that
requires a disciplined, active attention. In previewing the movies that will be
shown over the first week of the festival � and some that will come later � I
have been struck by how few of them conform to the conventions of genre and
narrative that dominate American commercial cinema. The split between the
domestic mainstream and the world of international �art� films has rarely
seemed so wide. As the big <st1:place w:st="on">Hollywood</st1:place> studios,
with their eyes on the global market, strive for maximum scale and minimal
nuance, independent-minded filmmakers in other countries seem to be going in
the other direction. Or, rather, in <span class=GramE>their own</span>
idiosyncratic directions, forging a decentralized, multifarious cinema of
nuance, intimacy and formal experimentation.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>Some of them veer toward abstraction, like Marc <span
class=SpellE>Recha�s</span> �August Days,� in which the story is a faint shadow
cast by the images, which consist mainly of views of the mountains and rivers
of <st1:State w:st="on"><st1:place w:st="on">Catalonia</st1:place></st1:State>.
Other films mix their moods in ways that complicate traditional distinctions
between comedy and drama, realism and artifice, or even present and past. All
of them reward a first look � even if you don�t like what you see, you will
have seen something new � and some may even change the way you look at things.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>The director <span class=SpellE>Abderrahmane</span> <span
class=SpellE>Sissako�s</span> <a
href="http://movies2.nytimes.com/gst/movies/movie.html?v_id=350452&inline=nyt_ttl">�Bamako,�</a>
the most politically urgent film in the festival and also the most formally
audacious, combines a bracing indictment of the world financial system with a
subtle glimpse at daily life in <st1:place w:st="on">Africa</st1:place>. At the
center of this film from Mali is a mock trial, during which robed lawyers argue
over whether the <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/w/world_bank/index.html?inline=nyt-org"
title="More articles about World Bank">World Bank</a> and <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/i/international_monetary_fund/index.html?inline=nyt-org"
title="More articles about the International Monetary Fund.">International
Monetary Fund</a> are guilty of increasing Africa�s misery. But around the
edges, as passionate speeches are made, we witness a wedding, the breakup of a
marriage and the routines of work and play. The juxtaposition of the abstract
and concrete, of macrocosm and microcosm, makes �<st1:City w:st="on"><st1:place
w:st="on">Bamako</st1:place></st1:City>� much more than the sum of its
arguments. It�s a film that needs to be seen, argued over and seen again.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>But after �Bamako� (and maybe also <a
href="http://movies2.nytimes.com/gst/movies/titlelist.html?v_idlist=128352;326921&inline=nyt_ttl">�The
Queen,�</a> <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=90460&inline=nyt-per"
title="">Stephen <span class=SpellE>Frears</span></a><span class=SpellE>�s</span>
opening-night offering about <a
href="http://topics.nytimes.com/top/reference/timestopics/people/e/queen_of_great_britain_elizabeth_ii/index.html?inline=nyt-per"
title="More articles about Elizabeth II, Queen of Great Britain .">Elizabeth
II</a>), there are not many overtly political films in the first third of the
program: another difference between New York and other festivals, which
frequently showcase angry, earnest denunciations of injustice and war. There
are other things to think about, and other ways to feel. Complications of
feeling are the subject of Hong Sang-<span class=SpellE>soo�s</span> �Woman on
the Beach.� Mr. Hong, a wry, unsparing anatomist of the romantic discontent of
South Korean twenty- and <span class=SpellE>thirtysomethings</span> (with
special emphasis on the failings of South Korean men), has made his most
coherent and emotionally accessible film yet. On the surface the story of a
short, not-too-happy love affair, filmed in a clear, unassuming style, it turns
out on closer examination to be full of subtle narrative symmetries and visual
patterns. It�s a wicked comedy of manners in a blue key of disappointment.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'><a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=118189&inline=nyt-per"
title=""><span class=SpellE>Manoel</span> de Oliveira</a>�s �Belle <span
class=SpellE>Toujours</span>� is a charming, small-scale movie that exists
entirely in reference to a 40-year-old film, Luis <span class=SpellE>Bu�uel�s</span>
�Belle de Jour.� It�s a sequel (with <span class=SpellE>Bulle</span> <span
class=SpellE>Ogier</span> in the role created by <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=18574&inline=nyt-per"
title="">Catherine <span class=SpellE>Deneuve</span></a>), <span class=GramE>a
homage</span>, a parody and also a lovely meditation (by a director well into
his 90�s) on the passage of time and the persistence of desire. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>�Belle <span class=SpellE>Toujours</span>� is one of two films at
the festival featuring the great French actor <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=56669&inline=nyt-per"
title="">Michel <span class=SpellE>Piccoli</span></a> (who also appeared in
�Belle de Jour�). The other is <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=95490&inline=nyt-per"
title=""><span class=SpellE>Otar</span> <span class=SpellE>Iosseliani</span></a><span
class=SpellE>�s</span> �Gardens in <span class=GramE>Autumn</span>,� a
delightful shaggy-dog comedy in which Mr. <span class=SpellE>Piccoli</span>
shows up in drag. The movie is surreal in a matter-of-fact, almost offhand way,
its frames pleasingly cluttered with curious objects and odd-looking people.
It�s in French, but Mr. <span class=SpellE>Iosseliani</span>, who moved to <st1:country-region
w:st="on">France</st1:country-region> from his native <st1:country-region
w:st="on"><st1:place w:st="on">Georgia</st1:place></st1:country-region> in the
1990�s, has a droll, bawdy, earthy sensibility, at once cynical and warm-hearted,
that is unusual in the cinema of his adopted home. Following a government
minister (<span class=SpellE>Severin</span> <span class=SpellE>Blanchet</span>)
into disgrace � he loses his job, his mistress and his mansion all at once �
Mr. <span class=SpellE>Iosseliani�s</span> camera wanders among alcoholics,
immigrant squatters, Orthodox priests, prostitutes, pianists and petty
bureaucrats, and finds that the pursuit of pleasure is in every way superior to
the pursuit of power. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>�The Go Master,� from the Chinese director <span class=SpellE>Tian</span>
<span class=SpellE>Zhuangzhuang</span> also, in its way, honors the impulse to
turn away from politics. A restrained, elegantly photographed biopic, it traces
the life of Wu <span class=SpellE>Qingyuan</span> (Chang Chen), a renowned (and
real) Chinese Go player who lived mainly in <st1:country-region w:st="on"><st1:place
w:st="on">Japan</st1:place></st1:country-region> during the middle decades of
the 20th century. War, imperialism and religious persecution occasionally
challenge his commitment to the game, but never for long. In one astonishing
scene, an important match is interrupted by an explosion and a shock wave: the
atomic bomb has just landed on <st1:City w:st="on"><st1:place w:st="on">Hiroshima</st1:place></st1:City>.
�Let�s continue,� says Wu�s mentor as he dusts off the board, and the game
resumes.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>The festival�s main program includes a restored print of <a
href="http://movies2.nytimes.com/gst/movies/movie.html?v_id=100905&inline=nyt_ttl">�Mafioso,�</a>
Alberto <span class=SpellE>Lattuada�s</span> 1962 film about Antonio (Alberto <span
class=SpellE>Sordi</span>), a supervisor in a Milan factory who leaves his
middle-class, modern life for a vacation in the Sicilian village where he grew
up, bringing his very blond, very Northern wife and daughters along. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>A lost forerunner of Hollywood�s endless obsession with Italian
organized crime, �Mafioso� is a revealing portrait of Italian society and an
utter blast, happily blending low comedy, high sentiment, <span class=SpellE>neorealism</span>
and farce � almost a film festival unto itself, and evidence that the gap
between popular entertainment and artistic accomplishment has not always been
so wide. Surely the bridge can be rebuilt.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span class=bold><span style='font-size:13.5pt;font-family:
Georgia;color:black'>Also Screening</span></span><span style='font-size:13.5pt;
font-family:Georgia;color:black'> <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>The 44th New York Film Festival, presented by the <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/f/film_society_of_lincoln_center/index.html?inline=nyt-org"
title="More articles about Film Society of Lincoln Center">Film Society of
Lincoln Center</a>, opens tonight at <a
href="http://topics.nytimes.com/top/reference/timestopics/organizations/l/lincoln_center_for_the_performing_arts/index.html?inline=nyt-org"
title="More articles about Lincoln Center for The Performing Arts">Lincoln
Center</a> and continues through Oct. 15. Most films are shown at Alice Tully
Hall, except the late show tonight and the closing-night film, both at Avery
Fisher Hall. Tickets range from $16 to $40 ($10 student rush tickets may be
available at the box office the day of the screening) and are available at <a
href="http://filmlinc.com" target="_">filmlinc.com</a> or (212) 721-6500.
Information: (212) 875-5050. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:18.0pt'><span style='font-size:13.5pt;font-family:Georgia;
color:black'>There are also special programs in conjunction with the festival.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:13.5pt;font-family:Georgia;
color:black'>At the Kaplan Penthouse: �HBO Films Directors Dialogues,� a
three-part series, begins at 4 p.m. tomorrow with a discussion with <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=90460&inline=nyt-per"
title="">Stephen <span class=SpellE>Frears</span></a>, director of <a
href="http://movies2.nytimes.com/gst/movies/movie.html?v_id=326921&inline=nyt_ttl">�The
Queen.�</a> Other directors to appear are <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=79817&inline=nyt-per"
title="">Michael <span class=SpellE>Apted</span></a> (<a
href="http://movies2.nytimes.com/gst/movies/movie.html?v_id=350445&inline=nyt_ttl">�49
<span class=GramE>Up</span>�</a>) on Oct. 7 and <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=166461&inline=nyt-per"
title="">Guillermo del Toro</a> (�Pan�s Labyrinth�) on Oct. 14; $16. Two
restored films by Alejandro <span class=SpellE>Jodorowsky</span> will be shown:
<a
href="http://movies2.nytimes.com/gst/movies/movie.html?v_id=90352&inline=nyt_ttl">�El
<span class=SpellE>Topo</span>�</a> (1970) on Oct. 6 and <a
href="http://movies2.nytimes.com/gst/movies/titlelist.html?v_idlist=287611;95454&inline=nyt_ttl">�The
Holy Mountain�</a> (1973) on Oct. 7; tickets are $16 and $20. At the Walter
Reade Theater, <a href="http://www.nytimes.com/2006/09/29/movies/29janu.html">�50
Years of Janus Films�</a> will offer screenings of more than 30 films, through
Oct. 26. �Views <span class=GramE>From</span> the <span class=SpellE>Avant-Garde</span>�
will feature screenings of new and restored films through Oct. 15. Tickets are
$10, $7 for students, <span class=GramE>$</span>6 for members and $5 for 65 and
older at weekday matinees. �Scenes From the City: 40 Years of Filmmaking in <st1:State
w:st="on"><st1:place w:st="on">New York</st1:place></st1:State>� will be shown
Oct. 9. �Looking at Jazz,� on Oct. 11, is an evening of rare jazz films and
performances by Wycliffe Gordon and other musicians, with the scholar and
pianist Lewis Porter as host; $16. Tickets for the Oct. 15 screenings of <a
href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=100698&inline=nyt-per"
title="">Guy <span class=SpellE>Maddin</span></a><span class=SpellE>�s</span>
�Brand <span class=GramE>Upon</span> the Brain!� are $25. The Walter Reade
Theater and the Kaplan Penthouse are at <st1:Street w:st="on"><st1:address
w:st="on">165 West 65th Street</st1:address></st1:Street>. Walter Reade
tickets and information: (212) 875-5600; Kaplan Penthouse tickets and
information: (212) 721-6500. </span></p>
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