Film at Lincoln Center announces This Is Cinema Now: 21st Century Debuts, a survey of the most important new filmmakers of the millennium, July 19-31.
This summer, FLC is marking 50 years with Summer of Film at Lincoln Center, a season-long slate of exciting programming and events that celebrate our new name, new look, and cinema itself. As part of Summer of Film at Lincoln Center, This Is Cinema Now highlights those directors who have made their feature debuts since the year 2000—and who have all but begun to define what a 21st-century cinema might look like. The past two decades have been a transformative period shaped by new technologies, transnational cinemas, and hyper-expanding media culture, and a different cinematic landscape has emerged, along with new directors who have built upon its ever-shifting terrain. Made up of a series of double features, pairing such exceptional debuts as Jordan Peele’s Get Out with Jennifer Kent’s The Babadook and Maren Ade’s The Forest for the Trees with Andrew Bujalski’s Funny Ha Ha, This Is Cinema Now: 21st Century Debuts celebrates our unpredictable cinematic present and recognizes the new class of filmmakers who will be defining the medium for years to come.
The series launches on July 19 with a pair of stylistic shape-shifters that offer divergent takes on the road movie, Apichatpong Weerasethakul’s Mysterious Object at Noon and Bi Gan’s Kaili Blues. Other notable pairings of the series include ambitiously intricate sci-fi from directors who debuted at Sundance, Shane Carruth’s Primer and Richard Kelly’s Donnie Darko; boldly political first films from provocative writer-directors, Nadav Lapid’s Policeman and Corneliu Porumboiu’s 12:08 East of Bucharest; formally audacious work that wrestles with the metaphysical, Lisandro Alonso’s La Libertad and Carlos Reygadas’s Japón; and Damien Chazelle’s Guy and Madeline on a Park Bench paired with Barry Jenkins’s Medicine for Melancholy, which find the directors exploring themes that have since become signatures of their work.
New York Film Festival alumni feature strongly in the series, including Lucrecia Martel, whose debut La Ciénaga screens with Liu Jiayin’s Oxhide; Ulrich Köhler, whose Bungalow follows Joanna Hogg’s Unrelated; Kleber Mendonça Filho, whose Neighboring Sounds is paired with João Pedro Rodrigues’s O Fantasma; and Mia Hansen-Løve and Alice Rohrwacher, whose films All Is Forgiven and Corpo Celeste screen together on July 25 and 30. Following the premiere of his 14-hour opus La Flor at NYFF56, director Mariano Llinás will appear in person to present his first narrative feature Historias Extraordinarias, an ambitious and endlessly engrossing Borgesian narrative that clocks in at a conservative four hours.
Organized by Dennis Lim, Florence Almozini, and Tyler Wilson.
Tickets go on sale Wednesday, July 3. Special 2-for-1 pricing! See both films in that day’s back-to-back double feature and get two tickets for the price of one. Individual screening tickets are $15; $12 for students, seniors (62+), and persons with disabilities; and $10 for Film at Lincoln Center members.
Acknowledgements: American Genre Film Archive; Cinemateca Portuguesa; Institut Francais and the Cultural Services of the French Embassy NY; Thai Film Archive; Lisandro Alonso; ArtHouse Hotel NYC
FILMS & DESCRIPTIONS
All screenings will take place in the Walter Reade Theater (165 W. 65th St.) unless otherwise noted.
All Is Forgiven + Corpo Celeste
All Is Forgiven
Mia Hansen-Løve, France, 2007, 35mm, 105m
Mia Hansen-Løve made her feature debut with this sensitive chronicle of estrangement, redemption, and the indissoluble parent-child bond. Victor (Paul Blain) adores his wife Annette (Marie-Christine Friedrich) and their young daughter Pamela (Victoire Rousseau), but his self-loathing and addiction take their toll and the family disintegrates. A decade later, Pamela, now a young woman (played by Rousseau’s older sister Constance), returns to Paris where Victor still resides, opening the door to a possible reconciliation. Hansen-Løve eschews bathos at every turn, presenting her story in fragments consistent with the nature of memory. Her efforts earned her a César nomination for Best First Film. Print courtesy of Institut Francais, special thanks to the Cultural Services of the French Embassy NY.
Thursday, July 25, 1:30pm
Tuesday, July 30, 7:00pm
Alice Rohrwacher, Italy, 2011, 35mm, 99m
“Seeing the Spirit is like wearing really cool sunglasses,” according to the instructor of 13-year-old Marta’s (Yle Vianello) catechism class. Such observations introduce Marta to the religious climate in the small seaside Calabrian town to which she, her mother, and older sister have just moved from Switzerland. Marta is sent to the local church to prepare for her Catholic confirmation and (hopefully) make some new friends. But the religion she finds there is mainly strange: the way it dominates people’s lives is unlike anything she’s ever experienced. Alice Rohrwacher’s extraordinarily impressive debut feature chronicles Marta’s private duel with the Church, carried out under the shadow of the physical changes coursing through her. Rohrwacher is not interested in pointing out heroes and villains, but instead in offering a perceptive look at how the once all-powerful Church has dealt with its waning influence. An NYFF49 Selection.
Thursday, July 25, 3:30pm
Tuesday, July 30, 9:00pm
The Face You Deserve + Frownland
The Face You Deserve
Miguel Gomes, Portugal, 2004, 108m
Though he first came to international attention for his third feature Tabu, Portuguese fabulist Miguel Gomes’s debut is as deliriously imaginative and captivatingly strange as anything he’s concocted since. A loopy, anything-goes take on Snow White and the Seven Dwarfs, The Face You Deserve unfolds in two equally oddball parts: the first an absurdist musical in which a self-absorbed sad sack celebrates a very unhappy 30th birthday, the second a magical-realist fairy tale involving seven eccentric men living together in a state of suspended childhood. As the two tales wind together, what emerges is a playful, poignant, and mysterious reflection on the bitter realities of adulthood and the eternal wonder of youth.
Friday, July 26, 6:45pm
Ronald Bronstein, USA, 2007, 35mm, 106m
Ronald Bronstein met Dore Mann—the nonprofessional actor who would end up incarnating the unhinged, stammering pariah at the center of his debut feature—at a funeral. “He introduced himself to me as my cousin,” Bronstein remembered, “which wasn’t quite true.” But they were indeed distant relatives, and Mann committed to Frownland with ferocious intensity, plunging himself into the role of this self-described “troll” who lives with an arrogant roommate in a wretched Brooklyn apartment and sells disability benefit coupons door-to-door. Shot with a tiny crew and a ragtag style on 16mm, Frownland seemed utterly unlike anything else when it premiered at South by Southwest. It was a dispatch from a bleak but rivetingly energetic corner of the world. And Bronstein’s attachment to troublesome social misfits hasn’t waned since; he co-wrote the Safdie Brothers’ Good Time, for which Frownland in retrospect seems like an important predecessor.
Friday, July 26, 9:00pm
The Forest for the Trees + Funny Ha Ha
The Forest for the Trees
Maren Ade, Germany, 2003, 35mm, 81m
In her caustic and insightful films Everyone Else and Toni Erdmann, German filmmaker Maren Ade (a former member of the influential “Berlin School” of filmmakers) dramatized with comedy and discomfort how the fragile bonds between people—between lovers; between parents and children—can lead to chaos and catharsis. In her low-budget first film, Ade trained her camera on a more solitary figure: Melanie (Eva Lobau), an elementary-school teacher who moves to a new city to start over following a breakup, but who shoots herself in the foot at every turn. Shot on handheld DV, the sometimes skin-crawling but always incisive The Forest for the Trees announced an idiosyncratic new cinematic perspective: amusing yet unsparing, realist yet tinged with psychological extremity.
Saturday, July 20, 1:00pm
Funny Ha Ha
Andrew Bujalski, USA, 2002, 35mm, 89m
The film that kickstarted the DIY revolution known as “Mumblecore,” Andrew Bujalski’s wry portrait of twentysomething aimlessness and ennui is the prototype for the lo-fi audiovisual style and realer-than-real life naturalism that would define the movement. The story—as much as you can call it one—follows recent grad Marnie as she drifts through a post-college daze of temp jobs, lame parties, and fumbling flirtations, all the while grappling with a sincere but undefined desire to achieve…something. Capturing the awkward social rituals of everyday life with an astutely observed realism, Funny Ha Ha pointed the way toward a new wave of American indie cinema radical in its small-scale ambition.
Saturday, July 20, 2:30pm
Get Out + The Babadook
Jordan Peele, USA, 2017, 104m
Jordan Peele won an Oscar for Best Original Screenplay for this phenomenon about young New Yorker Chris Washington (Daniel Kaluuya) who accompanies his girlfriend (Allison Williams) home to meet the parents. The casual racism and falsely smiling social privilege that imbues her parents’ white suburbia turns from mildly suffocating to downright sinister as the weekend wears on, leading Chris to uncover an unimaginable dark secret about the community. In its elucidation of “The Sunken Place,” Get Out gave American viewers a powerful racial allegory for the ages, and confirmed the writer-director—and former comedy sketch star (Key & Peele)—as a trail-blazing voice for a new kind of American horror movie.
Saturday, July 27, 7:00pm
Jennifer Kent, Australia, 2014, 94m
Young widow Amelia lives with her 7-year-old son, Samuel, who seems to get odder by the day. His father’s death in an accident when driving Amelia to the hospital to give birth to him may have something to do with the boy’s unnerving behavior, which scares other children and perhaps even his own mother. But when a sinister children’s book called Mister Babadook mysteriously appears—and keeps reappearing—Amelia begins to wonder if there’s a presence in the house more disturbed than her son. Jennifer Kent’s visually stunning debut genuinely frightens us with the revelation that the things that go bump in the night may be buried deep inside our psyches, not just in the basement. A 2014 New Directors/New Films selection.
Saturday, July 27, 9:00pm
Guy and Madeline on a Park Bench + Medicine for Melancholy
Guy and Madeline on a Park Bench
Damien Chazelle, USA, 2009, 82m
Before he broke through with Whiplash, Damien Chazelle kicked things off with this resourceful, low-budget Boston-set musical about a jazz trumpeter with a wandering eye and his introverted, out-of-work girlfriend, who begins putting her life back together when he leaves her for another woman. Shot on black-and-white 16mm, and featuring original songs by Justin Hurwitz, this whimsical creation plays a similarly poignant tune of lost love as Chazelle’s Oscar-winning La La Land, but it’s so much more than a warm-up, capturing waves of feeling with vivid streetwise charm.
Saturday, July 20, 4:30pm
Medicine for Melancholy
Barry Jenkins, USA, 2008, 88m
Shot in luscious sepia tones, Barry Jenkins’s feature debut considers what it means to be young, black, and bohemian in a rapidly gentrifying San Francisco. Wyatt Cenac and Tracey Heggins exude chemistry as Micah and Jo, two hipsters whose one-night stand stretches into a 24-hour odyssey through the city. In between bike rides and underground dance parties, Micah grapples with his identity as a black man in an overwhelmingly white indie scene, while Jo questions her commitment to her white boyfriend. Intimate, engaging, and gorgeous to look at, Medicine for Melancholy ponders big picture questions—about race, class, housing—while never losing sight of the human story at its center.
Saturday, July 20, 6:00pm
Mariano Llinás, Argentina, 2008, 245m
As proven again in 2018 by his singular, 14-hour festival sensation La Flor, Mariano Llinás is one of the world’s most audacious directors. His ambition was clear from the start, with his endlessly engrossing Extraordinary Stories, which plays out as a series of nested Borgesian narratives that zigzag across different characters, locations, and genres. Thick with incident and ironic twists, this novelistic 18-chapter experience refuses easy resolutions to its many mysterious tales but supplies satisfaction at every turn.
Sunday, July 28, 4:30pm (Q&A with Mariano Llinás)
The Human Surge + Drift
The Human Surge
Eduardo Williams, Argentina/Brazil/Portugal, 99m
A twentysomething in Argentina loses his warehouse job. Boys in Maputo, Mozambique, perform half-hearted sex acts in front of a webcam. A woman in the Philippines assembles electronics in a small factory. Williams’s inquisitive camera is in constant motion, as are his rootless characters, who wander aimlessly, make small talk, futz with their phones, and search for a working Internet connection. Unfolding within the unfree time between casual jobs, this wildly original rumination on labor and leisure in the global digital economy seems to take place in both the immediate present and the far horizon of the foreseeable future. Winner of the top prize in the 2016 Locarno Film Festival’s Filmmakers of the Present section. An NYFF54 selection.
Wednesday, July 31, 7:00pm
Helena Wittmann, Germany, 2017, 98m
Filmmaker-artist Helena Wittmann’s subtly audacious first feature follows friends Theresa, a German, and Josefina, an Argentinian, as they spend a weekend together on the North Sea, taking long walks on the beach and stopping at snack stands. Eventually they separate—Josefina eventually returns to her family in Argentina and Theresa crosses the Atlantic for the Caribbean—and the film gives way to a transfixing and delicate meditation on the poetics of space. Self-consciously evoking the work of Michael Snow and masterfully lensed by Wittmann herself, Drift is by turns cosmic and intimate. A 2018 New Directors/New Films selection.
Wednesday, July 31, 9:00pm
La Ciénaga + Oxhide
Lucrecia Martel, Argentina, 2001, 103m
Mecha (Graciela Borges) and her family are nearing the end of their summer holiday when her cousin Tali and her family are forced to come and live with them. In the stifling heat of the Argentine summer, the two families aimlessly amuse themselves with liquor, kinky crushes, swimming in a filthy swimming pool, hunting and watching TV. No one ever seems to go anywhere; parents and kids lay in bed, half-naked in communal sloth, but there are powerful undercurrents running beneath the seemingly languid country-house atmosphere. One of the all-time great debut films, La Ciénaga announced a daring new voice in Argentine cinema, and constituted a mesmerizing portrait—reminiscent of Buñuel—of the privileged class far gone in decay, unanchored from religion, nature, marital or blood ties. An NYFF39 selection.
Sunday, July 21, 1:30pm (playing at the Elinor Bunin Munroe Film Center)
Friday, July 26, 2:30pm (playing at the Elinor Bunin Munroe Film Center)
Liu Jiayin, China, 2005, 100m
In Liu Jiayin’s first film, over the course of 23 carefully choreographed shots, we watch the young filmmaker, her parents, and their cat act out a thinly fictionalized version of the life they share in a cramped Beijing apartment, where her father makes leather handbags. Liu made Oxhide when she was 23 and still at the Beijing Film Academy, and the movie’s precise, immersive attention to working-class city life brought it wide international acclaim. It was followed by a longer, even more rigorously confined sequel, Oxhide II. “As long as my family is around,” Liu wrote, “Oxhide will continue. It might be in the apartment, but we might go outside. We might go to a park. As long as we are there, no matter where we are, it’s all Oxhide… it is a subject that will go on because life will go on.”
Sunday, July 21, 3:30pm
Friday, July 26, 4:30pm
La Libertad + Japón
Lisandro Alonso, Argentina, 2001, 73m
Alonso’s landmark feature debut, based on months of closely observing its subject’s routines, follows a day in the life of Misael, a young woodcutter in the Argentinean pampas. Using long takes that are at once uninflected and hyper-attentive, La Libertad chronicles the stark facts and repetitive actions of Misael’s largely solitary existence: he searches for trees and chops wood, pauses to defecate or eat, prepares and transports the logs for sale, returns to his camp to build a fire and cook his dinner. The title crystallizes a question about this man’s life: is the cyclical daily grind a burden or a kind of freedom? Or does the title refer to Alonso’s conception of an anti-dramatic, materialist cinema, absolutely in-the-moment and liberated from the traditional confines of fiction and documentary? “An account of everyday work that transforms the banal into poetry, maybe even myth,” James Quandt wrote of La Libertad, named one of the top 10 films of the past decade in Cinema Scope magazine. An NYFF39 selection.
Wednesday, July 24, 6:30pm
Monday, July 29, 2:30pm
Carlos Reygadas, Mexico, 2002, 134m
Cinema of the 21st century found its heir to Andrei Tarkovsky with the emergence of Mexican master Carlos Reygadas who, perhaps more than any other major auteur of his generation, has devoted himself to wrestling with weighty metaphysical questions of sex, spirituality, mortality, and suffering. His quietly iconoclastic vision emerged fully formed with the cryptically titled Japón, in which a tormented man travels to a remote valley with a plan to commit suicide, only to find his will to live restored through his relationship with an older widow. Straying readily from its narrative path to chase down moments of visual and auditory transcendence, this sublime psychic journey is rich with aesthetic and philosophical revelations.
Wednesday, July 24, 8:45pm
Monday, July 29, 4:00pm
Mysterious Object at Noon + Kaili Blues
Mysterious Object at Noon
Apichatpong Weerasethakul, Thailand, 2000, 89m
For his first feature, Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives) orchestrated this beguiling, sui generis hybrid: part road movie, part folk storytelling exercise, part surrealist party game. A camera crew travels the length of Thailand asking villagers to invent episodes in an ever-expanding story, which ends up incorporating witches, tigers, surprise doublings and impossible reversals. With each participant, Mysterious Object at Noon seems to take on a new unresolved tension. Celebrating equally the possibilities of storytelling and of documentary, it’s a work that’s grounded in a very specific region, but feels like it came from another planet. Restored by the Austrian Film Museum with help from the World Cinema Foundation.
Friday, July 19, 7:00pm
Tuesday, July 23, 3:00pm
Bi Gan, China, 2015, 113m
A multiple prizewinner at the Locarno Film Festival and one of the most audacious and innovative debuts of recent years, Bi Gan’s endlessly surprising shape-shifter comes to assume the uncanny quality of a waking dream as it poetically and mysteriously interweaves the past, present, and future. Chen Sheng, a country doctor in the Guizhou province who has served time in prison, is concerned for the well being of his nephew, Weiwei, whom he believes his thug brother Crazy Face intends to sell. Weiwei soon vanishes, and Chen sets out to find him, embarking on a mystical quest that takes him to the riverside city of Kaili and the town of Dang Mai. Through a remarkable arsenal of stylistic techniques, the film develops into a one-of-a-kind road movie, at once magical and materialist, traversing both space and time. A 2016 New Directors/New Films selection.
Friday, July 19, 8:45pm
Tuesday, July 23, 4:30pm
Nana + Mundane History
Valérie Massadian, France, 2011, 68m
Though it largely slipped under the radar on its release, Valérie Massadian’s haunting first feature has only grown in stature since, celebrated for its Bressonian narrative economy and unsettling, enigmatic vision of childhood. In a remote stretch of the French countryside, 4-year-old Nana lives with her mother, their domestic routines captured in static long takes at once distanced and intimate. When Nana returns home one day to an empty house, her mother mysteriously absent, this cryptic anti–fairy tale takes on sinister dimensions. Leaving its spare narrative tantalizingly open-ended, Nana instead remains firmly immersed in its young heroine’s child’s-eye consciousness, evoking her increasingly precarious world with quiet, eerie tension.
Tuesday, July 23, 7:00pm
Tuesday, July 30, 3:30pm
Mundane History / Jao nok krajok
Anocha Suwichakornpong, Thailand, 2009, 35mm, 82m
The corporeal and the cosmic collide to mesmerizing effect in this galaxy-brain stunner from Thai auteur Anocha Suwichakornpong. Mundane History begins straightforwardly enough, as nurse Pun takes a new job caring for Ake, a paralyzed young man whose angry defiance gradually softens into grudging respect. But as the two men form a tentative friendship, Anocha explodes her own film, blowing open an abstract realm that encompasses everything from dream worlds to Thai history to the miracle of birth to the death of stars. At once slyly unassuming and dazzlingly ambitious, this existential odyssey heralded the arrival of a bold new visionary of Thai cinema. 35mm print courtesy of the Thai Film Archive.
Tuesday, July 23, 8:30pm
Tuesday, July 30, 5:00pm
Neighboring Sounds + O Fantasma
Kleber Mendonça Filho, 2012, Brazil, 131m
A thrilling debut from a breakout talent, Neighboring Sounds delves into the lives of a group of prosperous middle-class families residing on a quiet street in Recife, close to a low-income neighborhood. The private security firm hired to police the street becomes the catalyst for an exploration of the neighbors’ discontents and anxieties—their feelings exacerbated by the palpable unease of a society that remains unreconciled to its troubled past and present inequities. Meticulously constructed, with unexpected compositions and arresting cuts, this ensemble film is compulsive viewing; you’re never quite sure where things are headed as it builds imperceptibly toward its stunning payoff. With his unmistakable formal gifts and acute eye and ear for the push and pull of modern life, Kleber Mendonça Filho represents the arrival of a major filmmaker.
Sunday, July 21, 6:00pm
Wednesday, July 31, 2:30pm
João Pedro Rodrigues, Portugal, 2000, 35mm, 87m
Calibrated to shock with its transgressive blend of filth and kink, João Pedro Rodrigues’s grimy psychosexual odyssey is no mere provocation, but a deeply felt howl of queer anguish and alienation. Set almost entirely in the night world of Lisbon, O Fantasma traces the descent into degradation of Sergio, a scowling young trash collector whose primal lust and sadomasochistic obsession with a handsome motorcyclist drive him to disturbing extremes. It all builds toward a hallucinatory metamorphosis that makes literal the agonized otherness of queer identity and finds Rodrigues pushing gay art cinema into daring new territory. 35mm print courtesy of Cinemateca Portuguesa.
Sunday, July 21, 8:30pm
Wednesday, July 31, 5:00pm
Policeman + 12:08 East of Bucharest
Nadav Lapid, Israel, 2011, 105m
A boldly conceived drama pivoting on the initially unrelated activities of an elite anti-terrorist police unit and some wealthy young anarchists, Policeman is the striking first feature from writer-director Nadav Lapid. Provocatively timely, this is a powerfully physical film in its depiction of the muscular, borderline sensual way the macho cops relate to one another, as well as for the emphatic style with which the opposing societal forces are contrasted and finally pitted against one another. Although the youthful revolutionaries come off as petulant and spoiled, their point about the growing gap between the Israeli haves and have-nots cannot be ignored, even by the policemen sent on a rare mission to engage fellow countrymen rather than Palestinians. A winner of three prizes at the Jerusalem Film Festival and a special jury prize at Locarno.
Friday, July 19, 3:00pm
Saturday, July 27, 3:00pm
12:08 East of Bucharest
Corneliu Porumboiu, Romania, 2006, 35mm, 89m
Winner of the 2006 Camera d’Or prize at Cannes, this sociopolitical satire focuses on a group of characters who, on December 22, 2005, commemorate the 16th anniversary of Ceausescu’s fall. What seems like a formally simple and straightforward story is actually a sophisticated and wryly funny reflection on the scope of the Romanian Revolution of 1989 that ended communism in Romania. The title refers to the exact time of day in which Ceausescu fled and roughly translates as “Was There or Wasn’t There?,” referring to whether the city was or was not part of the revolution, a central question being hotly debated throughout the film.
Friday, July 19, 5:00pm
Saturday, July 27, 5:00pm
Primer + Donnie Darko
Shane Carruth, USA, 2004, 77m
Few American debuts of the 21st century have been bolder than this lo-fi sci-fi by multi-hyphenate auteur Shane Carruth, in which a circle of anonymous, white-shirt scientists turn their suburban garage into a time-travel portal. As much about the intricacies of language as the vicissitudes of time, Primer builds in eerie power and elegant convolution on its way to an ambiguous conclusion. Carruth, who would go on to direct Upstream Color, won the Grand Jury Prize at Sundance for his debut.
Saturday, July 20, 8:00pm
Richard Kelly, USA, 2001, 35mm, 113m
Following its small release in the immediately post-9/11 autumn of 2001, the wildly ambitious Donnie Darko disappeared quickly from theaters. Shortly thereafter, Richard Kelly’s apocalyptic yet wryly political sci-fi-comedy, set in 1980s suburbia, began reappearing as a midnight movie in smaller independent theaters, and a cult classic was born. Jake Gyllenhaal stars as a heavily medicated teenager in psychotherapy whose dramatic sleepwalking episodes may contain premonitions that affect the lives of various people in his small town. With visual fluidity and intricate narrative invention, Kelly (Southland Tales) created an unnerving, supremely entertaining portrait of millennial angst that both embraces and pokes fun at the New Age mythos that defined the end of the 20th century. Print courtesy of the American Genre Film Archive.
Saturday, July 20, 9:30pm
Unrelated + Bungalow
Joanna Hogg, UK, 2007, 100m
Middle-aged, discontented Anna (Kathryn Worth) decides to spend her summer holiday apart from her husband, in Tuscany with her friends. As the days go by, she finds herself more attuned to their teenage children (Tom Hiddleston and his sister Emma) and increasingly alienated from her friends. The 2007 debut from Joanna Hogg (The Souvenir), visually detached yet emotionally cutting, established her immediately as an unusual artist with a place-specific approach to drama.
Wednesday, July 24, 2:30pm
Monday, July 29, 7:00pm
Ulrich Köhler, Germany, 2002, 85m
The celebrated debut of Ulrich Köhler (In My Room, NYFF56) is a minimalist portrait of a young German soldier named Paul (Lennie Burmeister) who goes AWOL and returns to his childhood home in the countryside. Over a few summer days, Paul evades the responsibilities of everyday life and falls in love with his brother’s girlfriend, disrupting the lives of everyone in his circle. With Köhler’s penchant for deadpan humor and subtle performances, Bungalow becomes a quiet mockery of militarism, familial estrangement, and youthful ennui.
Wednesday, July 24, 4:30pm
Monday, July 29, 9:00pm