Bulletin Board: 24 Frames, Friedkin, and Wiazemsky

April 19, 2018 | Harris Pacey

24 Frames

Opens Friday, April 20th

Museum of Moving Image, various times

In the opening of the late Abbas Kiarostami’s 24 Frames, he wonders “to what extent the artist aims to depict the reality of a scene.” What follows is his own deeply personal answer, a series of 24 shorts reimagining photographs he has taken over the years. Mostly static shots of landscape with no real narrative, what unfolds is a beautiful meditation on nature from one of cinema’s greatest meditators. Fair warning, as if it wasn’t obvious, the film can make true one of Kiarostami’s most famous quotes: “I prefer the films that put their audience to sleep in the theater.”

Matthew McConaughey in Killer Joe (2011)

Matthew McConaughey in Killer Joe (2011)

William Friedkin

Starts Thursday, April 19th

Metrograph, various time

To commemorate the latest William Friedkin documentary, The Devil and Father Amorth, Metrograph has put together a mini-retrospective of the prolific director’s work over the decades. The director will be there in person to present his best-known classic, the supernatural, hellacious thriller The Exorcist. Also showing is Sorcerer, a remake of sorts of the great George Clouzot film Wages of Fear, with a terrific electronic soundtrack by Tangerine Dream. Filing out the retrospective is the 1985 To Live and Die in L.A. and the 2011 Tracy Lett’s adaptation Killer Joe, with an intense Matthew McConaughey, just starting his McConaissance.

Anne Wiazemsky in La Chinoise (1967)

Anne Wiazemsky in La Chinoise (1967)

Radical Presence: Anne Wiazemsky

Starts Friday, April 20th

Quad Cinema, various times

One of the few people to continue acting after making their debut in a Robert Bresson film, Anne Wiazemsky made a name for herself in the films of Jean-Luc Godard, to whom she was briefly married, and Pier Paolo Pasolini. Her filmography is seemingly only made up of films that feature either radical politics, radical aesthetics, or, in most cases, both. The films in the series include the Maoist La Chinoise co-staring Jean-Pierre Léaud, Phillipe Garrel’s experimental black-and-white L’enfant secret, and her aforementioned first, and possibly best, role in Au hasard Balthazar, Bresson’s adaptation of a passage in Fyodor Dostoyevsky’s The Idiot, co-starring a donkey.

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