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    ‘Household Saints’ at IFC Center: An Italian American Tale

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    Nancy Savoca’s 1993 film, a mystical, multigenerational Italian American family saga, opens for a revival run at IFC Center.Nancy Savoca’s 1993 film “Household Saints,” a warmhearted fable spiced with magic realism and zesty performances, may be the most endearing of multigenerational Italian American family sagas and is likely the most mystical. Heavy on folk belief, it flirts with Bresson’s “Diary of a Country Priest” and the divine madness the Greeks called theia mania.Seemingly overlooked by the 1993 New York Film Festival, “Household Saints” was included as a restoration last October; it’s opening for a revival run on Jan. 12 at IFC Center.Savoca and the producer Richard Guay adapted “Household Saints” from Francine Prose’s well-received 1981 novel. If the writer Isaac Bashevis Singer were a product of Little Italy, he might have spun a similar yarn. Amid a 1949 heat wave so hellish the annual feast of San Gennaro has all but been shut down, a rakish young butcher named Joseph Santangelo (Vincent D’Onofrio) wins a wife, Catherine Falconetti (Tracey Ullman), in a game of pinochle. God’s grace or Joseph’s thumb on the scale?Catherine is the sullen daughter of Lino Falconetti (Victor Argo), a none-too-bright radio repairman. The Santangelos and Falconettis are unfriendly neighbors. Joseph’s superstitious mother, Carmela (played with alarming gusto by Judith Malina), hates her prospective daughter-in-law. Blessings battle tribulations. Savoca contrives a wedding night as filled with rococo confections as the interior of a Palermo church. A curse — disturbingly visualized as a bloody, stillborn infant — is lifted after Carmela dies and a healthy daughter, Teresa, is born.Among other things, “Household Saints” refracts 25 years of the Cold War through a Mulberry Street lens. Teresa and her playmates are obsessed with the prophecies of Our Lady of Fátima, received by three country children in visions that coincided with the triumph of Russian Bolshevism. As an adolescent, Teresa (Lili Taylor) writes a prizewinning essay on the dangers of Communism. She also becomes a fanatical devotee of her namesake, Saint Thérèse of Lisieux, the Little Flower, associating piety with a devotion to domestic chores.Madness runs in the family. In a parallel obsession, Teresa’s Uncle Nicky (Michael Rispoli) searches Chinatown for a dream Madame Butterfly. In the meantime, forbidden by her parents to take Carmelite vows, Teresa enters an earthy relationship with an awkward but ambitious law student (Michael Imperioli). Happily ironing his shirts in their disheveled, casually psychedelic East Village pad, she has an ecstatic vision of Jesus amid an abundance of checkered garments.“The story is filled with strange, homespun miracles,” Janet Maslin wrote in her New York Times review when the film was originally released, adding that “this single-minded little film could be counted as one of them.” So too its evocation of Mulberry Street. Largely shot on a North Carolina backlot built for the film “Year of the Dragon,” “Household Saints” seems the most authentically simulated New York movie since Sam Fuller’s “Pickup on South Street.” (The flavorsome line readings are supplied by a bevy of native New York actors, among them Argo, D’Onofrio, Malina, Rispoli and Imperioli.)“Household Saints” never tips its hand. Eventually institutionalized, the beatific Teresa informs her parents of celestial pinochle games, noting that God (like her dad) cheats at cards. While the once credulous Catherine thinks her daughter has suffered a psychotic break with reality, the anticlerical Joseph takes Teresa for a saint. Thanks to the spell the film casts, they’re both right.Household SaintsOpens on Jan. 12 at IFC Center, Manhattan; ifccenter.com. More

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      ‘Alphaville’: A Film That Feels Brand-New

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      Jean-Luc Godard’s hard-boiled sci-fi movie from 1965 returns in a restored version at IFC Center.Cinephiles of a certain age have a Jean-Luc Godard film that when first seen, blew their minds. Mine was Godard’s low-budget foray into dystopian science fiction, “Alphaville.”Having opened the 1965 New York Film Festival, which called it the “first successful incursion of pop art into the cinema,” “Alphaville” returns in a restored, re-subtitled print at the IFC Center, starting Dec. 15.Call it pop art, meta-noir, sci-fi neorealism or the underground precursor to the overblown, effects-driven superhero movies of the 21st century. “Alphaville” inserted itself into popular cinema by appropriating an existing movie icon, the hard-boiled detective Lemmy Caution, played in seven French thrillers by the frog-faced American actor Eddie Constantine.Thanks to Constantine, “Alphaville” is remarkably close to a “normal” movie (by Godardian standards). And thanks to Godard, Lemmy — one icon among many — lives in a self-aware movie universe. My own eureka moment came when, dispatched to find the German pulp character Harry Dickson (Akim Tamiroff), Lemmy asks him if their colleagues Dick Tracy and Flash Gordon are dead.“Alphaville” is pure pop in the form of gritty vérité — shot on high-speed, black-and-white film almost entirely at night and largely in the then-new Paris business district La Défense. As outrageously callous and bluntly stylized as a comic strip, mayhem is accentuated by Paul Misraki’s start-stop, hyper-melodramatic score, while tough-guy Lemmy quotes Paul Éluard.Inventive and pragmatic, Godard transformed ordinary objects into futuristic gizmos: That a jukebox stands for a spy console, a cigarette lighter receives radio transmissions, an electric fan denotes the supercomputer Alpha 60 and the computer’s flat, guttural croak is that of a man with a prosthetic voice box, is a form of surrealism.Godard was pragmatic in other ways, too. Richard Brody’s biography, “Everything Is Cinema,” suggests that “Alphaville” was designed to get Anna Karina, who divorced the director just before filming began, to say the words “I love you.” She does at the end of the film. Audiences did not. Present at the movie’s premiere, the Village Voice critic Andrew Sarris “felt waves of hatred washing up on the screen.”The New York Times critic Bosley Crowther, also there, noted that Godard’s “excessively cinematic prank,” provoked annoyance when, shifting gears midway through, it became “a tedious tussle with intellectual banalities.” Perhaps, but to paraphrase Umberto Eco’s essay on cult films and “Casablanca,” where two clichés make us laugh, a hundred clichés make a myth — in this case Orpheus and Eurydice. (In “Alphaville,” Cocteau’s version is referred to throughout.)Like “1984” and any number of recent opinion pieces, “Alphaville” equates totalitarianism with the debasement of language and allegiance to the algorithm. That it makes its points audio-visually may be why many artists prized the film. The conceptualist Mel Bochner celebrated “Alphaville” with a photo-text grid published in 1968 in Arts Magazine. Decades later, MoMA PS1 hosted a show of contemporary art inspired by Godard called “Postcards From Alphaville.”Those artworks have dated but the film hasn’t. Digitally restored, “Alphaville” not only looks but feels brand-new. The “intellectual banalities” that bored Crowther are so insistently contemporary that “Alphaville” could have been made in 2023. If by some time-traveling Borgesian twist of fate it were, Godard’s film would have been my candidate for the year’s best.AlphavilleOpens on Friday at the IFC Center in Manhattan; ifccenter.com. More

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      ‘Young Soul Rebels,’ Isaac Julien’s 1991 Drama, Lands at IFC

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      A newly restored print of Isaac Julien’s 1991 politically minded musical drama opens Oct. 20 at the IFC Center.Few movies were more freighted with expectation than Isaac Julien’s “Young Soul Rebels” — a politically minded musical drama populated by “soul boys,” punks, and skinheads, financed by the British Film Institute and directed by a 30-something Black gay film artist.A double time-capsule, made in 1991 but set in 1977, the year of the Sex Pistols and Queen Elizabeth II’s Silver Jubilee, a newly restored print of the film, Julien’s first feature, is opening Oct. 20 at IFC Center.The eponymous rebels are teenage best friends, Chris (Valentine Nonyela) and Caz (Mo Sesay), operating a pirate radio station, the Soul Patrol, that privileges funk over punk. Both have issues with the larger community. Chris is macho and gay. Caz is straight, metrosexual and the son of a white mother, played by Frances Barber. The co-star of Stephen Frears and Hanif Kureishi’s multi-culti “Sammy and Rosie Get Laid,” Barber was a rare veteran in a cast of neophytes.Julien first attracted attention with his poetic essay “Looking for Langston,” a meditation on the Harlem Renaissance that outed the writer Langston Hughes and incurred the wrath of Hughes’s estate. “Young Soul Rebels” is more mainstream, less suggestive of the raw punk movies made in the late 1970s than the power pop films — “Something Wild” or “Desperately Seeking Susan” — that followed, as well as Hollywood’s 1990 tribute to pirate radio, “Pump Up the Volume.”The kids quarrel, go clubbing — their preferred dive seems open to punk, disco, and soul — and find romance. Caz woos Tracy, a glamorous production assistant (the future star Sophie Okonedo). Chris is courted by a dimwitted anarchist punk (Jason Durr). Complications include racist cops, the patriotic frenzy of the Jubilee and, opening the movie, a friend’s murder.“The moments when the film tries to build suspense are clankingly overdone,” Stephen Holden wrote in a generally sympathetic New York Times review, adding that “Young Soul Rebels” was best when exposing “the schisms in London society in scenes of the local street life, where tensions are often on the verge of erupting into violence.” Still, for all the shots of a cardboard cutout of an inanely waving Queen Elizabeth, the movie pulls a few punches, the nastiness of the far-right National Front, for one, seems somewhat mitigated.“Young Soul Rebels” had its premiere at the 1991 Cannes Film Festival, where its queer-positive attitude and nuanced treatment of racial difference were overshadowed by three forceful Hollywood movies by Black filmmakers: “Jungle Fever,” “Boyz N the Hood” and “A Rage in Harlem.” As reported from Cannes, Julien criticized “Jungle Fever” and “Boyz” as sexist and homophobic and took particular issue with “Jungle Fever” for what he characterized as its negative view of interracial relationships. By contrast, Julien’s vision of the United Kingdom intimated the idyllic, inclusive United Colors of Benetton. Rather than the “no future” nihilism of 1977, “Young Soul Rebels” reflects the promise that came with the archconservative Margaret Thatcher’s political demise.If hampered by its script, “Young Soul Rebels” is helped by an essential good cheer and a percolating soundtrack segueing from Funkadelic to the Blackbyrds to Poly Styrene. Indeed, this may be the most upbeat movie ever to open with a sex murder and end with a fascist riot — prelude to a curtain call that has the couples sorted out and everyone dancing.Young Soul RebelsOpens Oct. 20, IFC Center Manhattan, ifccenter.com. More

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      New York’s Movie Theaters, From Art-House to Dine-In

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      New York is the nation’s moviegoing capital, especially for cinephiles who treasure archival prints, experimental cinema and concession stands that go far beyond the standard offerings. Below is a guide to the city’s art houses.Alamo DrafthouseFinancial District, 28 Liberty Street, Suite SC301, Manhattan. Downtown Brooklyn, 445 Albee Square West, Brooklyn. drafthouse.com.This dine-in chain, based in Austin, Texas, has a hip aesthetic and is noted for its brews, queso and screenings of cult classics, in addition to regular showings of new releases. A revived version of Kim’s Video has set up shop within the Manhattan location. A Staten Island theater is scheduled to open this summer.Angelika Film CenterAngelika Film Center, 18 West Houston Street, Manhattan. Cinema 123 by Angelika, 1001 Third Avenue, Manhattan. Village East by Angelika, 181-189 Second Avenue, Manhattan. angelikafilmcenter.com.The original Angelika Film Center is the downtown six-screen theater where you can catch art-house releases, like “Petite Maman” or “Anaïs in Love,” while the subway rattles underneath. The brand name has also been appended to the Village East, whose main auditorium is a gorgeous old Yiddish stage theater. In addition to showing new releases, it hosts “The Rocky Horror Picture Show” and periodic revival screenings, and like its uptown sibling, the Cinema 123, it is equipped to show 70-millimeter film.Anthology Film Archives32 Second Avenue, Manhattan; anthologyfilmarchives.org.New York’s polestar of avant-garde film (and the preservation of it) for more than 50 years, Anthology was started by some of experimental cinema’s most important promoters (Jonas Mekas, P. Adams Sitney) and practitioners (Stan Brakhage, Peter Kubelka). In addition to retrospectives, the theater hosts a rotating series, Essential Cinema, that is free with membership; programming includes seminal narrative works by Alexander Dovzhenko and F.W. Murnau and medium-expanding nonnarrative films from Ken Jacobs and Michael Snow.Brooklyn Academy of Music30 Lafayette Avenue, Brooklyn; bam.org.At any given time in the main BAM building in Fort Greene, three out of four screens show new releases, while one holds retrospectives, such as ones on films shot in New York City in the 1990s or others that place David Lynch’s work alongside movies he influenced. Occasional screenings take place at the BAM Harvey Theater a few blocks away.Film at Lincoln CenterElinor Bunin Munroe Film Center, 144 West 65th Street, and Walter Reade Theater, 165 West 65th Street, Manhattan; filmlinc.org.Lincoln Center’s film arm, the hosting organization of the New York Film Festival, runs a year-round theater with one of the largest screens in town: the Walter Reade. There you can catch adventurous revivals, such as programs on the Hungarian director Marta Meszaros or the Japanese actress-director Kinuyo Tanaka, and contemporary series, like the annual Rendez-Vous With French Cinema. Across the street is the Elinor Bunin Munroe Film Center, which houses two screens and a food-and-wine bar, Indie.Film Forum: Come for the popcorn; stay for the cinematic edification.Photo by Alexi Rosenfeld/Getty ImagesFilm Forum209 West Houston Street, Manhattan; filmforum.org.A New York institution for more than 50 years — it has been at its present location since 1990 and added a fourth screen in 2018 — Film Forum hosts some of the most extensive retrospectives in town, often showing dozens of films from a director or from stars like Toshiro Mifune and Sidney Poitier. Regular attendance constitutes a cinematic education in itself, and the popcorn, to which moviegoers apply sea salt themselves, is a delicacy.French Institute/Alliance FrançaiseFlorence Gould Hall, 55 East 59th Street, Manhattan; fiaf.org.This classy venue with excellent sightlines hosts screenings on Tuesdays. The programming consists of new and vintage films from France, with English subtitles, bien sûr. Series typically have a theme — it might be Wes Anderson selecting favorites by Ophüls and Truffaut or a program of recent French comedies.IFC Center323 Sixth Avenue, Manhattan; ifccenter.com.This Greenwich Village five-screen theater boasts four first-rate auditoriums (and one cubbyhole) and typically shows many more than five movies in a given week, usually with a short beforehand. Shows can start as early as 10 or 11 a.m. and, on the weekends, as late as midnight. The concession stand sells T-shirts that substitute directors’ names for those of heavy metal bands.Japan Society333 East 47th Street, Manhattan; japansociety.org.This theater’s annual Japan Cuts series is probably the largest single showcase of recent Japanese cinema on the New York cinephile’s calendar. For the rest of the year, new movies share screen space with classics, often shown on 35 millimeter.Light Industry361 Stagg Street, Brooklyn; lightindustry.org.This microcinema, which specializes in experimental film and typically holds screenings on Tuesday nights, hosted its final program at its longtime Greenpoint location in April. It will reopen by June on Stagg Street. Past screenings have varied widely; they’ve included early work by William Castle, a four-hour Mexican serial from 1919, Hollis Frampton and Owen Land films on 16-millimeter and a marathon of “Police Squad!” episodes.Maysles Cinema343 Lenox Avenue, Manhattan; maysles.org.This small (about 60 seats) Harlem venue specializes in documentaries — it was founded by the director Albert Maysles, of “Grey Gardens” fame. The programming often places an emphasis on social issues and local artistry.Metrograph7 Ludlow Street, Manhattan; metrograph.com.An ever-changing (and expensive!) selection of international candies, a nook of a bookstore and a high-class restaurant, the Commissary, are among the features of this Lower East Side two-screen venue, which opened in 2016. (Many don’t notice, but it sits across the street from the neglected Loew’s Canal Theater.) The retrospectives, such as a recurring series of the programmers’ favorites, organized alphabetically, have a correspondingly artisanal feel.Museum of Modern Art11 West 53rd Street, Manhattan; moma.org.MoMA has been showing movies since the 1930s, when Iris Barry, the museum’s first film curator, helped advance the idea that films should be collected as art. Today the institution’s two main theaters screen films from its own collection and archives around the world (the annual series To Save and Project highlights recent preservation work). Admission to most screenings is free with membership.Museum of the Moving Image36-01 35th Avenue, Queens; movingimage.us.The high ceilings and blue wall padding give a faintly futuristic feel to the 267-seat Redstone Theater, the main auditorium in this museum in Astoria. That works well when a favorite like “2001: A Space Odyssey” is playing on 70 millimeter. More specialized fare sometimes is shown in the Bartos Screening Room down the hall.Nitehawk CinemaProspect Park, 188 Prospect Park West, Brooklyn. Williamsburg, 136 Metropolitan Avenue, Brooklyn. nitehawkcinema.com.These stylish dine-in theaters have several screens that show new releases and perennial favorites (“Carrie,” “Face/Off”) from brunch time to midnight-snack time. Both venues have bars.The Paris Theater, once a destination for French film, is now leased by Netflix.An Rong Xu for The New York TimesParis Theater4 West 58th Street, Manhattan; paristheaternyc.com.Once a go-to destination for French cinema and films with a literary pedigree, the Paris briefly closed in 2019, but then was leased by Netflix, which uses it for theatrical runs of its streaming titles (like Jane Campion’s “The Power of the Dog”) and older movies intended to complement them. It’s one of the few remaining New York theaters with a balcony.Quad Cinema34 West 13th Street, Manhattan; quadcinema.com.When this Greenwich Village theater opened in 1972, having four screens was unusual. (“A new way to go to the movies,” boasted a New York Times ad on the first day.) It reopened in 2017 after a renovation that gave it bigger, comfier seats for viewing new art-house releases, like “A Hero” or “We’re All Going to the World’s Fair.” Plus, there’s an adjoining bar.Roxy Cinema New York2 Sixth Avenue, Manhattan; roxycinematribeca.com.Located in the basement of the Roxy Hotel, this plush red screening room offers a mix of revivals (often on 35-millimeter film) and second-run programming — recent releases that have been in theaters awhile.Spectacle124 South Third Street, Brooklyn; spectacletheater.com.A grungy Williamsburg microcinema started in 2010, Spectacle has a calendar as eclectic as it is inscrutable. There’s horror and martial-arts fare that tends toward the obscure, along with a lot of international titles that never turn up in other New York venues.United Palace4140 Broadway, Manhattan; unitedpalace.org.One of the original Loew’s Wonder Theaters — movie palaces built in the late 1920s, with one in each borough except Staten Island (Jersey City got it instead) — this architectural marvel in Washington Heights is an attraction in itself. It’s now run by an organization that promotes interfaith artistic events, but the theater also hosts concerts and, generally once a month, movie screenings. Lin-Manuel Miranda, a neighborhood resident, chipped in for a new screen and projector. More

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      ‘Mississippi Masala’: A Love Story Among the Displaced

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      In Mira Nair’s sweet, sexy film from 1991, an Indian American woman falls for a Black cleaner played charmingly, as ever, by Denzel Washington.Mira Nair’s “Mississippi Masala” begins with a bit of family history that is also a history lesson — the expulsion of Uganda’s sizable South Asian population, ordered from the country by the military strongman Idi Amin in 1972.A prize winner at the 1991 Venice Film Festival, still fresh and newly relevant, “Mississippi Masala” has been restored for a run at the IFC Center in Manhattan, starting Friday.After a vivid prologue, the movie jumps ahead 18 years to pick up on its displaced central family, resettled in Greenwood, Miss. Jay (Roshan Seth), a barrister in Uganda, manages a hot-sheet motel while his wife, Kinnu (Sharmila Tagore, the star of Satyajit Ray’s “Devi,” among other films), runs the adjacent liquor store.Jay still dreams of Uganda; Kinnu is more resigned to exile. Their daughter, Meena (Sarita Choudhury), who cleans rooms at the motel, is beyond that — so robustly American she could stand in for the Statue of Liberty, albeit Liberty in chains. “I’m 24 years old, and I’m still here — stuck here,” she tells her uncomprehending parents.Luckily, Meena is also a reckless driver. Early on she rear-ends the van belonging to a carpet-cleaning business run by straight-arrow but cool Demetrius (Denzel Washington). It is “the first in a series of collisions,” the New York Times critic Vincent Canby noted in his favorable review, between her world and his.As its title suggests, “Mississippi Masala” is a movie of continuous juxtaposition. The first is a cut from Uganda’s verdant paradise to a Piggly Wiggly’s consumer cornucopia in America. Another follows a flashback to the family’s hilltop villa in Uganda with the mock plantations of wealthy Greenwood. Nair came out of documentary filmmaking, and thanks to Ed Lachman’s vibrant cinematography, “Mississippi Masala” the landscapes are also characters.There’s a documentary aspect to the cast as well. Choudhury, a neophyte who grew up in Jamaica where her father was a biologist, is playing a version of herself (at one point she wears a Bob Marley T-shirt). She was so close to the part that, despite the movie’s success, it took her some time to start an acting career. (Most recently, she was featured in the “Sex and the City” reboot, “And Just Like That.”) Washington, a decade older, already awarded an Oscar for best supporting actor, can be seen as guiding her through the film.Hoping the avoid a lawsuit, the wealthier Indians seek to make common cause with Greenwood’s Black population. Meena’s connection is more profound. “You’re like us,” Demetrius’s younger brother tells her. “You’ve never been to India. We’ve never been to Africa.” Meena and Demetrius are both cleaners and correspondingly low-caste. Both must escape family obligations and transcend tribal prejudices. A stolen weekend in Biloxi and a motel room fight sets the phone lines buzzing, involves the Chamber of Commerce and an arraignment before a judge.The pop iconography of chain restaurants, motels and gas stations (as well as Hindu shrines) is characteristic of 1980s independent films. But Nair’s storybook ending is more ’90s, recalling the post-Cold War golden age when it seemed that American notions of “freedom” and self-invention reigned supreme.Mississippi MasalaOpens Friday at IFC Center, Manhattan, ifccenter.com More

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      5 Things to Do This Thanksgiving Weekend

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      Our critics and writers have selected noteworthy cultural events to experience virtually and in person in New York City.Art & MuseumsReframing FreedomOne of the murals of Shaun Leonardo’s “Between Four Freedoms,” on view at Franklin D. Roosevelt Four Freedoms State Park on Roosevelt Island through Tuesday.Anna LetsonThe making of Shaun Leonardo’s latest public artwork — “Between Four Freedoms,” the exhibition of which has been extended to Tuesday at Franklin D. Roosevelt Four Freedoms State Park on Roosevelt Island — is predicated on the notion that the four freedoms cited in Roosevelt’s 1941 speech don’t apply to everyone equally. How would our most vulnerable citizens interpret them? In a series of workshops leading up to the installation, Leonardo attempted to answer that question. For one, he pointed to the freedom from fear: How can it be considered attainable when children continue to be incarcerated? How can people declare it when for them fear persists in the shadows?The culmination of these exercises is represented in a series of large vinyl murals of hand gestures (which sometimes speak louder than words) that Leonardo applied to the granite walls at the entrance to the park. Words haven’t been completely ignored, though. QR codes surrounding the works link to audio recordings of workshop participants discussing what freedom — or its lack — means to them.MELISSA SMITHKIDSSetting Hearts AflutterAn emerald swallowtail butterfly, which is among the species in the American Museum of Natural History’s butterfly exhibition, on view through May 30.D. Finnin/American Museum of Natural HistoryThe butterflies are back in town.That may seem like a puzzling announcement in November, but at least one Manhattan site considers it routine: the American Museum of Natural History. After a yearlong pandemic-induced hiatus, the institution is once again presenting its annual exhibition “The Butterfly Conservatory: Tropical Butterflies Alive in Winter,” on view through May 30.Mimicking a light-filled 80-degree rainforest, this 1,200-square-foot vivarium provides close encounters with as many as 500 creatures, such as monarch, viceroy, blue morpho and emerald swallowtail butterflies, and atlas and luna moths. (Timed entry is required, and visitors must buy tickets that include special-exhibition access.) For curious children, the thrills of wandering among the show’s blossoms and greenery include seeing these free-flying international travelers alight on an outstretched hand or emerge from a chrysalis.Small visitors who prefer to keep insects at a distance can enjoy several exhibits outside the conservatory’s doors. Among them are a short film about metamorphosis and displays on butterfly habitats and adaptations. Owl butterflies, for instance, have large spots that resemble owl eyes — a way to fool predators — while monarchs contain foul-tasting toxins. Those bright orange wings are nature’s own caution sign.LAUREL GRAEBERFilm SeriesOf Instincts and BuboesSharon Stone in Paul Verhoeven’s “Basic Instinct,” one of the films IFC Center is showing for a retrospective of the director’s work in anticipation of his latest, “Benedetta.”Rialto PicturesBefore Paul Verhoeven’s latest provocation, the 17th-century lesbian-nun drama “Benedetta,” opens on Dec. 3, IFC Center invites viewers to revisit his scandals of yore. While his early Dutch outrages aren’t much represented (other than “Spetters,” one of the most phallocentric movies ever made, screening on Saturday), you couldn’t ask for a more ice-pick-sharp Friday-night selection than “Basic Instinct” (also showing Sunday through Tuesday), the subject of protests — even during filming — for its depiction of Sharon Stone’s bisexual murder suspect. It stands, along with Verhoeven’s return to Holland, the gripping World War II drama “Black Book” (on Saturday, Tuesday and Wednesday), as the high point of his mastery of the erotic thriller.Perhaps less seen, but relevant to “Benedetta,” is “Flesh + Blood,” screening on 35-millimeter film on Sunday. Rutger Hauer’s character leads a group of mercenaries who claim a divine mandate, but the encroaching plague proves impervious to superstition. “Benedetta” will close the series on Dec. 2.BEN KENIGSBERGComedyNo Topic Too HotD.L. Hughley will be at Carolines on Broadway on Friday and Saturday.Phil ProvencioThey say the Thanksgiving table is no place for certain subjects, but those are just the kind of scraps D.L. Hughley can turn into a feast.The comedian, who hosts a nationally syndicated afternoon radio show with a companion series on Pluto TV’s LOL! Network, has been making waves since the late 1990s, when he starred in his own sitcom on ABC and toured as one of “The Original Kings of Comedy” alongside Steve Harvey, Cedric the Entertainer and Bernie Mac, who died in 2008.Hughley had the political savvy to host his own CNN show and the mainstream appeal to compete on “Dancing With the Stars.” In 2012, he created and starred in “D.L. Hughley: The Endangered List,” a mockumentary for Comedy Central that won a Peabody Award. This year, he published his fifth book, “How to Survive America.” He’ll certainly have plenty to talk about when he performs at Carolines on Broadway on Friday and Saturday at 7 and 9:45 p.m. Tickets start at $60, with a two-drink minimum.SEAN L. McCARTHYFive Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      Lizzie Borden’s ‘Working Girls’ Is About Capitalism, Not Sex

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      While the 1987 drama takes place in a Manhattan brothel, its true concern is labor. (And it’s is definitely not to be confused with Mike Nichols’s rom-com.)A fictional day in the life of a Manhattan boutique bordello, Lizzie Borden’s “Working Girls” is as witty, gimlet-eyed and discomfiting as when it won a special award at the 1987 Sundance Film Festival.The movie, not to be confused with Mike Nichols’s 1988 rom-com “Working Girl,” has been digitally restored and, in advance of a Blu-ray release, is having a theatrical run at the IFC Center in Manhattan.“Working Girls” opens with Molly (Louise Smith) waking at 7 a.m. in an East Village tenement, making breakfast for her partner’s young daughter and bicycling uptown to her place of employment. Her first order of business is inserting a diaphragm — the matter-of-factness provides the movie’s first jolt.Borden’s previous film, “Born in Flames,” (1983) is a vision of urban insurrection led by a largely Black and lesbian army now considered a classic of revolutionary cinema, militant feminism and Afro-futurism. “Working Girls” is no less political. Sex is almost incidental; the movie’s true concern is labor, much of which consists in massaging the egos of the brothel’s clients.While offering a smorgasbord of mildly kinky tastes, “Working Girls” is far from prurient. When, midway through, Molly makes a drugstore run to replenish the supply closet, the movie suggests a Pop Art composition of brand-name packages: Listerine, Kleenex and Trojans. The New York Times reviewer Vincent Canby noted that, although fiction, “Working Girls” “sounds as authentic as might a documentary about coal miners.”Coal miners with ambition, that is: Molly, who has two degrees from Yale, is an aspiring photographer. Dawn (Amanda Goodwin) is a volatile working-class kid putting herself through college. Gina (Marusia Zach) is saving to open her own business. The women, who have amusingly little difficulty handling their generally well-behaved johns, are in control but only up to point. Midway through, their boss Lucy (Ellen McElduff) sweeps in, and as a gushingly saccharine steel magnolia, she is far more exploitative, not to mention manipulative, than any of the customers.Borden belongs to a group of filmmakers, including Kathryn Bigelow and Jim Jarmusch, who emerged from the downtown post-punk art-music scene of the late 1970s. Back then, “Born in Flames” and “Working Girls” seemed like professionalized versions of the incendiary work produced by scrappy Super-8 filmmakers like Vivienne Dick and the team of Scott B and Beth B. Revisited decades later, “Working Girls” appears closer to Chantal Akerman’s epochal “Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles.”The similarity between the films is not so much subject (Akerman’s eponymous protagonist is a housewife prostitute) as attitude. “Working Girl” is notable for its measured structure, analytical camera placement and straightforward cool. Borden only tips her hand once, when she allows Molly — who has been sweet-talked into working a double shift — to ask Lucy if she’s ever heard of “surplus value.”“Working Girls” is an anticapitalist critique that has scarcely dated, save for one bit of hip social realism I neglected to note when I reviewed it in 1987 for a downtown weekly. Asked how she heard about the job, a new recruit reveals that she answered a want ad for “hostesses” in The Village Voice.Working GirlsOpening June 18 at the IFC Center in Manhattan; ifccenter.com. More

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      Which Movie Theaters Are Reopening in New York City? Here’s a Guide.

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyWhich Movie Theaters Are Reopening in New York City? Here’s a Guide.The state says they can resume operations Friday. Some cinemas are saying not so fast; others are eager to welcome audiences. Here’s the latest.The IFC Center in Greenwich Village will welcome back moviegoers starting Friday.Credit…Calla Kessler for The New York TimesMarch 5, 2021Updated 5:49 p.m. ETAlthough movie theaters in most of New York State were allowed to reopen in October, those in its filmgoing capital, New York City, remained closed because of the pandemic. But early last week, Gov. Andrew M. Cuomo gave cinemas in the five boroughs the go-ahead, setting an opening date of March 5.Not all theaters are choosing to reopen just yet. Those that do must follow certain guidelines: They are limited to 25 percent of capacity, and an audience cannot exceed 50 people. Moviegoers must wear masks when not eating and must have assigned seats.Certain chains have opened around the country under comparable strictures. AMC plans to open all its theaters this weekend in the city, the country’s second-largest movie market; Regal is holding off until the top market, Los Angeles, reopens. But the guidelines pose special difficulties for New York’s independent theaters and art houses. Below is a roundup of which plan to return on Friday or in the near future and which will stay shut for now.Opening FridayANGELIKA FILM CENTER In the last two decades, Angelika Film Centers have sprung up around the country, but the original Houston Street location, managed by the chain Reading International, will reopen Friday. So will Reading’s two other theaters in the city, the Cinema 1, 2, 3 and the Village East, which have been folded into the Angelika brand and now sell tickets on the same website.“We strongly feel that reopening our cinemas, albeit at a reduced capacity, starts bringing back folks into our cinemas,” Scott Rosemann, the eastern division manager at Reading, said, even if operating now may not generate profits for a while.When you make a purchase online or at a kiosk, the seats surrounding yours will be automatically blocked off to maintain social distance. The theater and its cafe will remain cashless for now to reduce touch points. All screenings will have “preshow greetings” to remind moviegoers of protocols.This weekend, the Angelika will show the likely Oscar contenders “Minari” and “Nomadland,” while Village East will show “Tenet” on 70-millimeter film.IFC CENTER The Greenwich Village theater opens Friday with a robust lineup that includes first-run titles (“My Salinger Year,” “La Llorona,” “The Vigil”); opportunities to catch Netflix features like “Da 5 Bloods” and “Mank” theatrically; and two monthlong series, one called What’d We Miss, featuring acclaimed titles from last year (“Collective,” “Kajillionaire”), and another commemorating the 20th year of IFC Films.“I think everybody was caught a little by surprise by the timing of the announcement” by the governor, said John Vanco, the senior vice president and general manager of the center. The expectation, he said, had been that theaters would open in late spring or summer, and much of the lineup came together over the last week.Some of the rules are similar to other theaters’. But IFC will keep its concession stand closed. In addition, some showtimes will have cheaper tickets to encourage moviegoers to attend at nonpeak times.In perhaps its most distinctive pandemic adjustment, the theater has opted to start features precisely at the listed showtime; if you want to watch the trailers and a short film, arrive early. “We just want people to have kind of control,” Vanco said. “You can see on our website how long a movie is. We run a short film before every feature, and we run trailers like other theaters do, and we would love you to see that stuff. But if you just want to get in and get out,” that’s now possible.NITEHAWK CINEMA These Brooklyn dine-in theaters — in Prospect Park and Williamsburg — are reopening as cinemas on Friday, but they had already reopened as restaurants. “That’s kind of why, even with the short notice, we’ve been able to ramp up to open for the theaters, because it really doesn’t take that many more people to start serving in the theaters,” said Matthew Viragh, Nitehawk’s founder and executive director. Another advantage: The vaccine is available to restaurant workers.Every other row has been blocked off, Viragh said, “and then within the active rows, if you select a seat and purchase those tickets, two seats on either side of you will be blocked off.” At the larger Nitehawk Cinema Prospect Park, only five of seven screens will be operational, to make sanitizing the space easier, and both locations will be closed on Mondays for additional deep cleaning. Patrons will be subject to temperature checks, something Viragh said the theaters had been doing for indoor dining. Anyone who has a temperature or is feeling unwell can get a credit.QUAD CINEMA This Greenwich Village theater is reopening Friday with “My Zoe,” “Night of the Kings,” “Supernova” and “The World to Come.” Revival programming, which the Quad had typically put on one of its four screens, will come later, said Charles S. Cohen, the real estate developer who owns the cinema.The precautions will follow government recommendations and will be “pretty much along the lines of what every other theater is doing,” he added. Concessions will be available.Cohen also owns the national chain Landmark, which began opening theaters in August. (The Landmark at 57 West in Manhattan closed for good during the pandemic, a shuttering Cohen attributed to a combination of causes.) The capacity issues in the short term do not faze him. “There are films that need to reach an audience, and we are doing what we can to present those films to the filmgoing community that we think very much enjoys film in a theater,” he said.Still, another of his ventures, the distributor Cohen Media Group, has a backlog of 10 films. The holdup? Waiting for theaters in Los Angeles to return.Opening LaterALAMO DRAFTHOUSE The Downtown Brooklyn location of the dine-in chain has no date for reopening yet, but it will happen in the “very near future,” said Tim League, a founder and executive chairman of the company, based in Austin, Tex. (Separately, the company announced this week that it had filed for Chapter 11 and was undergoing a major financial restructuring, but an Alamo spokesman said that would affect neither the reopening date nor the continued development of new theaters in Lower Manhattan and Staten Island.)“We have started the opening process,” League said of the Brooklyn location. “It’s just a little more complicated for us because we have a big kitchen facility. We have a lot of hiring to do, and we’ve implemented some safety protocols.”Alamo has opened several of its locations across the country at some point since theater closures last March, and it has posted guidelines for moviegoers online. There hasn’t been much change in the number of patrons ordering food, League said, but there have been some changes in the service. The theaters have a reduced menu intended to maintain social distancing for the kitchen staff. Food can be ordered online in advance; pint glasses now have paper lids and silverware is sealed. Of staff training, League said, “We’re treating it like a new venue opening every time we do this.”ANTHOLOGY FILM ARCHIVES The city’s premier experimental-film venue, located in the East Village, has no firm date for reopening yet. “We’re going to sort of take it slow and take a wait-and-see approach,” Jed Rapfogel, the theater’s programmer, said, noting that the organization is keeping an eye on factors like the spread of new Covid-19 variants and the availability of vaccines. “I think the first thing that will most likely happen will be one screening a week or a couple screenings a week.”When theaters shut down last March, Anthology had just sent its program notes for the following three months to the printer. Rapfogel still hopes to play some of what was on that “ghost calendar,” including a near complete retrospective of the filmmaker Michael Snow — a “long overdue and major event,” Rapfogel said. But some series, he said, “you don’t want to present until you can have 100 percent capacity.” The theater’s online screening program, which has had many free offerings, remains active.BAM “A reopening date is yet to be determined,” Lindsay Brayton, a spokeswoman for this Brooklyn institution’s film division, said by email. “We’re looking forward to opening with the highest level of safety in place.”FILM AT LINCOLN CENTER “We expect a spring opening will be possible — I can’t tell you if that means April, May or June,” said Dennis Lim, the director of programming for Film at Lincoln Center and the New York Film Festival. The lack of a firm date is a function of several factors. The organization has three screens in two buildings; it is also part of the larger Lincoln Center campus, which remains mostly closed. In addition to making sure that staff can return to work safely, Lim said, “we’re getting feedback from our members about their comfort levels at this stage.”The lineup for the organization’s virtual cinema is mapped out for the next several months; some films could play on both the digital platform and theatrically after the reopening. Down the road, moviegoers may have a chance to top off last fall’s largely virtual New York Film Festival with selections that didn’t make sense to show online: “The Works and Days,” which runs eight hours, and a restoration of the Polish classic “The Hourglass Sanatorium.”FILM FORUM This is the only nonprofit theater in the city that gave a specific date for reopening: April 2. The programming at the Greenwich Village cinema will include “The Truffle Hunters” and the new Pedro Almodóvar short “The Human Voice,” showing with his 1988 film, “Women on the Verge of a Nervous Breakdown.” There will also be a revival of Federico Fellini’s “La Strada.”Karen Cooper, Film Forum’s director, said upgraded HVAC filters had been installed, and the ticketing system had been reprogrammed so that moviegoers can reserve seats online. The concession stand will be closed, and masks must be worn at all times. Expect industrial-strength rubber bands to prevent you from sitting where you shouldn’t.Cooper acknowledged the drawbacks of the state’s 25 percent capacity restriction. “It’s totally not economical,” she said with a laugh. “It’s a bigger money-loser to be open than to be closed. But the bottom line is, we’re a nonprofit. We exist for a purpose. We really believe that our job is to show these movies.”The expansive retrospectives for which Film Forum is famous will have to take a back seat for now, though. “You really can’t show a 40-film festival over a three-week period to houses that are 25 percent capacity,” Cooper said. Also, many archives around the world remain closed.But at least one series disrupted by the pandemic has a chance at a reprise, she said: 35-millimeter prints from The Women Behind Hitchcock, a series that had been set to end last March 19, are still sitting on the floor of the projection booth.MAYSLES CINEMA This Harlem venue has no reopening plans yet “due to continued concern for the health of our community” and the overhead cost of operating a single screen at limited capacity, said Annie Horner, a programmer and spokeswoman for the theater. Maysles Cinema normally seats about 60, which makes the 25 percent cap a difficult proposition.METROGRAPH This Lower East Side two-screen cinema did not comment beyond a statement: “While we can’t wait to see everyone, we must evaluate all the details — safety and logistical — for our team and audiences. We’ll be in touch soon with more updates.” The theater remains closed for now, and it plans to continue streaming titles on its virtual platform after reopening.MUSEUM OF MODERN ART The museum itself reopened in August, but its movie theaters are still closed for now. “The methods we had developed for a potential reopening last summer or fall, when I think all of us were hoping cinemas could reopen, they don’t really apply I think the same way anymore,” said Rajendra Roy, the chief film curator. He cited both advances with vaccines and questions surrounding new variants.While the museum has now had the experience of being open during the pandemic, Roy said, translating what happens in galleries to the theatrical experience isn’t straightforward. “It’s not a direct overlay in terms of procedures and time spent in one area,” he said. The staff has mapped the cinemas and even with the capacity restrictions can fit in a “decent” number of moviegoers. Still, he wants to avoid a situation in which there are “crickets in the room because there’s not a comfort level yet in coming back.” He’s envisioning reopening with something that will be a “delight” to watch on a big screen.In the meantime, MoMA started a virtual cinema in December, and Roy feels “it’s been curatorially representative of what we would hold ourselves to.” (Currently streaming: Two rediscoveries from 1930s France that MoMA had included last year in To Save and Project, a film preservation series.)If the theaters had reopened in 2020, Roy said, “I don’t know that we would have even built the virtual cinema.” Now, “it’s going to be a permanent feature of our offerings.”MUSEUM OF THE MOVING IMAGE “Our goal has been to open our entire facility — our theaters and our galleries — in tandem, and to do so this spring,” said Carl Goodman, the Queens museum’s executive director. But moviegoers who are looking for something to watch this weekend can attend the Queens Drive-In in Flushing Meadows Corona Park, which reopens for a new season tonight, and which the museum runs with Rooftop Films and the New York Hall of Science. Programming is planned through June, at least.When the museum returns, so will its exhibit “Envisioning 2001: Stanley Kubrick’s Space Odyssey,” which has been extended through September. The disrupted programming that accompanied the exhibit — screenings of “2001: A Space Odyssey” and related films — will also continue.“I’m very, very confident in our airflow adjustments,” Goodman said, adding, “We need staff and visitors to be safe and feel safe.”AdvertisementContinue reading the main story More