Our Media Center takes you inside Film at Lincoln Center with photos, videos, and podcasts from our screenings, talks, and events, plus announcements of upcoming programs and coverage of our artist and education initiatives.
In a Lonely Place
By Alex Hunter
on
August 5, 2015
Grahame gave one of her finest performances in Nicholas Ray’s masterpiece of moral and psychological ambiguity, as an aspiring actress committed to a screenwriter (Humphrey Bogart) who may—or may not—be capable of murder.
Human Desire
By Alex Hunter
on
August 5, 2015
The centerpiece of Fritz Lang’s Zola adaptation is Grahame’s towering performance as the dissatisfied, vengeful wife of a brutish conductor she aims to have killed. Grahame, who is alternately shrill, desperate, savvy, imploring, and ferocious, may have never dominated a movie the way she does here.
Crossfire
By Alex Hunter
on
August 5, 2015
This adaptation of Richard Brooks’s novel The Brick Foxhole, about a group of vets, led by Mitchum’s Sergeant Keeley, searching postwar Washington for their amnesiac friend so they can clear him of a murder charge, embodies the essence of what has come to be known as “film noir.”
Chilly Scenes of Winter
By Alex Hunter
on
August 5, 2015
Joan Micklin Silver’s wise, melancholic, criminally under-seen third feature, about a Utah civil servant’s obsession over the women who left him, includes one of Grahame’s final screen performances.
The Big Heat
By Alex Hunter
on
August 5, 2015
Grahame spends much of Fritz Lang’s bleak, thrilling noir with her face half-concealed, but her performance as a gangster’s moll—a magnificent combination of pride, fear, restlessness, confidence, and doubt—is the film’s center of gravity.
Y/Our Music
By Nicholas Kemp
on
July 29, 2015
An enlightening portrait of nine Thai musicians who span traditional music, labor songs, pop, and every possible genre in between. With inventively shot performances, this film is essential for any lover of world music.
Elektra
By Alex Hunter
on
July 24, 2015
New Production
The genius director Patrice Chéreau (From the House of the Dead) didn’t live to see his great Elektra production, previously presented in Aix and Milan, make it to the stage of the Met. But his overpowering vision lives on with soprano Nina Stemme—unmatched today in the heroic female roles of Strauss and Wagner—who portrays Elektra’s primal quest for vengeance. Legendary mezzo-soprano Waltraud Meier is chilling as Elektra’s fearsome mother, Klytämnestra. Soprano Adrianne Pieczonka and bass Eric Owens are Elektra’s troubled siblings. Chéreau’s musical collaborator, Esa-Pekka Salonen, conducts.
Roberto Devereux
By Alex Hunter
on
July 24, 2015
Met Premiere
Soprano Sondra Radvanovsky takes on the extraordinary challenge of singing all three of Donizetti’s Tudor queens in the course of a single season, a rare feat made famous by Beverly Sills—and not attempted on a New York stage since. In this climactic opera of the trilogy, directed by Sir David McVicar, she plays Queen Elizabeth I, forced to sign the death warrant of the nobleman she loves, Roberto Devereux. Tenor Matthew Polenzani is Devereux, and mezzo-soprano Elīna Garanča and baritone Mariusz Kwiecien complete the principal quartet in the bel canto masterpiece, conducted by Donizetti specialist Maurizio Benini.
Madama Butterfly
By Alex Hunter
on
July 24, 2015
Anthony Minghella’s breathtaking production has thrilled audiences ever since its premiere in 2006. One of the world’s foremost Butterflys, soprano Kristine Opolais, takes on the title role, and Roberto Alagna sings Pinkerton, the naval officer who breaks Butterfly’s heart. Karel Mark Chichon conducts.
Manon Lescaut
By Alex Hunter
on
July 24, 2015
New Production
The Met stage ignites when soprano Kristine Opolais and tenor Jonas Kaufmann join forces in Puccini’s obsessive love story. Opolais sings the title role of the country girl who transforms herself into a Parisian temptress, while Kaufmann is the dashing student who desperately woos her. Director Richard Eyre places the action in occupied France in a film noir setting. “Desperate passion” is the phrase Puccini himself used to describe the opera that confirmed his position as the preeminent Italian opera composer of his day. Met Principal Conductor Fabio Luisi leads the stirring score.