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Many films by Wong Kar-wai, a pivotal figure of the Hong Kong New Wave, recently received new (and somewhat controversial) restorations ahead of the release of a gargantuan box set by Criterion. Last year, Film at Lincoln Center had planned to host World of Wong Kar Wai, a career retrospective of Wong’s films which would show off these restorations. But the event was waylaid by the COVID-19 quarantine, eventually taking place in the winter as a virtual program. Now, with theaters reopening, FLC is finally able to screen these classics in person.
I can’t add much that hasn’t already been said already about Wong’s films, especially since we ran this excellent piece on them by Ryan Swen in tandem with their virtual presentation. Few directors are better at capturing romantic yearning, building intriguingly complex interpersonal entanglements, and mixing both stately and invigoratingly energetic modes of filmmaking. If you’re game for seeing something in a theater again, there’s no better choice to see while sitting comfortably with someone special.
Where: Film at Lincoln Center (70 Lincoln Center Plaza, Manhattan)
When: Through May 27
More info available via Film at Lincoln Center
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.