2nd (1964): “All Over the World” Show Notes

Table of Contents: Description, Corrections/Clarifications, Housekeeping, General, Main Slate, Ephemera, Recurring Directors, Recurring Countries, One-Time Directors, Debuts/Final Features, Festivals/Oscar Nominees, Shorts, Discussions By Length, Specifications


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The second episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the second edition of the festival in 1964.

0:00-9:58 – Opening
9:59-1:21:50 – Part One [Hamlet to Salvatore Giuliano]
1:21:51-2:21:44 – Part Two [A Woman Is a Woman to The Last Clean Shirt]
2:21:45-3:04:05 – Part Three [Pasazerka to Alone on the Pacific]
3:04:06-3:44:17 – Part Four [King & Country to The Big City]
3:44:18-3:50:37 – Closing


  • The decision to withdraw the Museum of Modern Art from the New York Film Festival was made by the board of trustees, not the board of donors.
  • Though various New York Times articles claim that shorts were attached to the films at the 1st New York Film Festival, I was unable to find the titles of the shorts (aside from the Robert Drew short documentaries).
  • The song that plays in the scene from A Woman Is a Woman is sung by Charles Aznavour, not Maurice Chevalier.


  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Saul Bass
  • Recorded March 5, 2018
  • Released March 12, 2018
  • Music (in order of appearance):
    • Hamlet (opening night)
    • A Woman Is a Woman (another favorite)
    • Woman in the Dunes (favorite of the first section)
    • Nothing But a Man (favorite of the second section)
    • Pasazerka (favorite of the third section)
    • King & Country (favorite of the fourth section)
    • The Big City (closing night)


  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director)
  • Location: Philharmonic Hall
  • Prices: 2 for terrace, 2.50 or 3 for orchestra, 3.50 or 4 for loge, with 1 added to all seats for opening night
  • Pass for all programs: 42.50 vs. 50 for terrace, 55.00 vs. 62.50 and 67.50 vs. 75.00 for orchestra
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: A Woman Is a Woman
      • Seen for the podcast: All available except Pasazerka, Before the Revolution, The Big City; A Woman Is a Woman rewatched
      • Favorite films: Woman in the Dunes, The Brig, Nothing But a Man
      • Least favorite films: Salvatore Giuliano, Siberian Lady Macbeth, The Last Clean Shirt, Fail-Safe
      • Seen after the podcast: The Big City (3rd), Pasazerka (3rd), Before the Revolution (3rd), Band of Outsiders rewatched (16th)
    • Dan
      • Seen before podcast watching period: Salvatore Giuliano, A Woman Is a Woman, Band of Outsiders, Nothing But a Man
      • Seen for the podcast: All available; A Woman Is a Woman rewatched
      • Favorite films: Nothing But a Man, Woman in the Dunes, Band of Outsiders
      • Least favorite films: Siberian Lady Macbeth, Alone Across the Pacific, Fail-Safe
  • Discoveries of the festival: Hamlet, The Brig, Pasazerka, Life Upside Down
  • Unavailable films: The Inheritance, To Love, Cyrano and d’Artagnan, Ça ira*

Main Slate

Opening Night: Hamlet [Gamlet] (1964, Grigori Kozintsev)
September 14, 9:00
Released 1966
The Inheritance [La Herencia] (1964, Ricardo Alventosa)
Also: Joseph Kilian [Postava k podpírání/A Character in Need of Support] (1963, Pavel Juráček & Jan Schmidt)
September 15, 6:30
Never released/Released 1966
Fail-Safe (1964, Sidney Lumet)
September 15, 9:15
Released 1964
Nobody Waved Good-bye (1964, Don Owen)
September 16, 6:30
Released 1965
Woman in the Dunes [Suna no Onna/Sand Woman] (1964, Teshigahara Hiroshi)
September 16, 9:15
Released 1964
Hands Over the City [Le mani sulla città] (1963, Francesco Rosi)
September 17, 6:30
Never released
Salvatore Giuliano (1962, Francesco Rosi)
September 17, 9:15
Released 1964
A Woman Is a Woman [Une femme est une femme] (1961, Jean-Luc Godard)
September 18, 6:30
Released 1964
Band of Outsiders [Bande à part] (1964, Jean-Luc Godard)
September 18, 9:15
Released 1966
Nothing But a Man (1964, Michael Roemer)
September 19, 6:30
Released 1964
Lilith (1964, Robert Rossen)
September 19, 9:15
Released 1964
Shin Heike Monogatari [Taira Clan Saga] (1955, Mizoguchi Kenji)
September 20, 3:00
Never released
The Brig (1964, Jonas Mekas)
Also: The Last Clean Shirt (1964, Alfred Leslie)
September 20, 6:30
Released 1966/Never released
Pasazerka [Passenger] (1963, Andrzej Munk)
Also: …A Valparaiso [To Valparaiso] (1963, Joris Ivens)
September 20, 9:15
Released 1970/Released 1965
L’Âge d’Or [The Golden Age] (1930, Luis Buñuel)
September 21, 6:30
Released 1980
Diary of a Chambermaid [Le journal d’une femme de chambre] (1964, Luis Buñuel)
September 21, 9:15
Released 1965
Enjo [Conflagration] (1958, Ichikawa Kon)
September 22, 6:30
Never released
To Love [Att älska] (1964, Jörn Donner)
September 22, 9:15
Released 1964
Alone Across the Pacific [Taiheiyo hitori-botchi] (1963, Ichikawa Kon)
September 23, 6:30
Released 1964
King & Country (1964, Joseph Losey)
September 23, 9:15
Released 1966
Life Upside Down [La vie à l’envers] (1964, Alain Jessua)
September 24, 6:30
Released 1965
Before the Revolution [Prima della rivoluzione] (1964, Bernardo Bertolucci)
September 24, 9:15
Released 1965
She and He [Kanojo to kare] (1963, Hani Susumu)
September 25, 6:30
Released 1967
Cyrano and d’Artagnan [Cyrano et d’Artagnan] (1964, Abel Gance)
September 25, 9:15
Never released
Ça ira – Il fiume della rivolta (1964, Tinto Brass)
Replaced With: Siberian Lady Macbeth [Sibirska Ledi Magbet] (1962, Andrzej Wajda)
September 26, 6:30
Released 1971/Never released
“Closing Night”: The Big City [Mahanagar] (1963, Satyajit Ray)
September 26, 9:15
Released 1967


  • Excerpts from quartet of Andy Warhol films shown on the Grand Promenade at Philharmonic Hall: Eat, Kiss, Haircut, Sleep

Recurring Directors
Key: films in this iteration excluding shorts/omnibus/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable), number of festivals with more than one film shown (when applicable); † indicates their last appearance, fraction in parentheses indicates number of features shown from oeuvre, features released in the eligible timeframe, features in oeuvre

  • Luis Buñuel: 2/2/3/3/1/1
  • Jean-Luc Godard: 2/2/2/3/0/1
  • Ichikawa Kon: 2/2/2/2/0/1
  • Francesco Rosi: 2/2/2/2/0/1
  • Joseph Losey: 1/1/2/2
  • Grigori Kozintsev: 1/1/1/1/1
  • Satyajit Ray: 1/1/1/1/1
  • Bernardo Bertolucci: 1/1/1/1
  • Abel Gance: 1/1/1/1
  • Sidney Lumet: 1/1/1/1
  • Jonas Mekas: 1/1/1/1
  • Mizoguchi Kenji: 1/1/1/1
  • Michael Roemer: 1/1/1/1
  • Teshigahara Hiroshi: 1/1/1/1
  • Andrzej Wajda: 1/1/1/1
  • Joris Ivens: 0/1/0/1

Recurring Countries
Key: films in this iteration excluding shorts/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable)

  • France: 6/7/12/13/1
  • Japan: 5/5/7/7
  • USA: 5/5/7/7
  • Italy: 4/4/7/7
  • Poland: 2/2/3/3
  • Argentina: 1/1/2/2
  • UK: 1/1/2/2
  • India: 1/1/1/1/1
  • USSR: 1/1/1/1/1
  • Canada: 1/1/1/1
  • Sweden: 1/1/1/1
  • Czechoslovakia: 0/1/0/1

One-Time Directors

  • Richardo Alventosa
  • Tinto Brass (replaced)
  • Jörn Donner
  • Hani Susumu
  • Alain Jessua
  • Pavel Juráček & Jan Schmidt (short)
  • Alfred Leslie (short)
  • Andrzej Munk
  • Don Owen
  • Robert Rossen

Feature Debuts

  • Ricardo Alventosa
  • Luis Buñuel (retrospective)
  • Alain Jessua
  • Don Owen
  • Michael Roemer

Final Features

  • Andrzej Munk
  • Robert Rossen


  • NYFF World Premiere
    • Fail-Safe
  • Cannes
    • Woman in the Dunes (Special Jury Prize; also Montreal)
    • Pasazerka (Special Mention, FIPRESCI)
    • Alone Across the Pacific (also San Francisco)
    • Before the Revolution (International Critics’ Week, Young Critics Prize)
    • The Inheritance (International Critics’ Week)
    • Joseph Kilian (International Critics’ Week)
  • Berlin
    • A Woman Is a Woman (1961, Silver Bear for Best Actress and Silver Bear Extraordinary Prize)
    • Salvatore Giuliano (1962, Silver Bear for Best Director; also 1963 Montreal)
    • The Big City (Silver Bear for Best Director)
    • She and He (Silver Bear for Best Actress, OCIC, Best Feature Film Suitable for Young People)
  • Venice
    • Hands Over the City (1963, Golden Lion)
    • Hamlet (Special Jury Prize)
    • To Love (Volpi Cup for Best Actress)
    • King & Country (Volpi Cup for Best Actor)
    • Life Upside Down (Best First Work; also Cannes International Critics’ Week)
    • Nothing But a Man (San Giorgio Prize)
    • The Brig (Documentary Festival, Grand Prize)
    • Ça ira (?)
    • Lilith (withdrawn)
  • Other
    • Nobody Waved Good-bye (Montreal)
    • Diary of a Chambermaid (Karlovy Vary, Best Actress; also Venice?)
  • N/A
    • Band of Outsiders (Berlin and Locarno?)
    • Shin Heike Monogatari
    • The Last Clean Shirt
    • …A Valparaiso
    • L’Âge d’Or
    • Enjo
    • Cyrano and d’Artagnan
    • Siberian Lady Macbeth

Oscar Nominees

  • Woman in the Dunes: Best Foreign Film, 1965 Best Director



Discussions By Length (Approximate)

  • 15:35 Fail-Safe (30:55-46:30)
  • 14:24 The Brig (2:03:29-2:17:53)
  • 11:56 Hamlet (11:03-22:59)
  • 11:47 Woman in the Dunes (57:43-1:09:30)
  • 11:11 Nobody Waved Good-bye (46:31-57:42)
  • 10:44 Nothing But a Man (1:37:32-1:48:16)
  • 10:37 The Big City (3:33:40-3:44:17)
  • 8:44 Pasazerka (2:23:19-2:32:03)
  • 8:14 A Woman Is a Woman (1:23:02-1:31:16)
  • 7:47 Lilith (1:48:17-1:56:04)
  • 7:36 Diary of a Chambermaid (2:42:31-2:50:07)
  • 7:23 Shin Heike Monogatari (1:56:05-2:03:28)
  • 7:06 Joseph Kilian [Short] (23:48-30:54)
  • 7:03 Salvatore Giuliano (1:14:47-1:21:50)
  • 6:40 Alone Across the Pacific (2:57:25-3:04:05)
  • 6:26 King & Country (3:04:57-3:11:23)
  • 6:14 Band of Outsiders (1:31:17-1:37:31)
  • 5:42 Enjo (2:50:08-2:55:50)
  • 5:32 Life Upside Down (3:11:24-3:16:56)
  • 5:31 Before the Revolution [One Person] (3:16:57-3:22:28)
  • 5:29 L’Âge d’Or (2:37:01-2:42:30)
  • 5:15 Hands Over the City (1:09:31-1:14:46)
  • 5:00 She and He (3:22:29-3:27:29)
  • 4:56 …A Valparaiso [Short] (2:32:04-2:37:00)
  • 4:17 Ça ira/Siberian Lady Macbeth (3:29:22-3:33:39)
  • 3:50 The Last Clean Shirt [Short] (2:17:54-2:21:44)
  • 1:51 Cyrano and d’Artagnan [Unavailable] (3:27:30-3:29:21)
  • 1:33 To Love [Unavailable] (2:55:51-2:57:24)
  • 0:47 The Inheritance [Unavailable] (23:00-23:47)


  • Григо́рий Ко́зинцев, Гамлет, 1964, 35 mm, black-and-white, 4-track stereo sound, 140 minutes, 2.35:1, Russian, USSR.
  • Ricardo Alventosa, La Herencia, 1964, 35 mm, black-and-white, mono sound, 78 minutes, 1.37:1, Spanish, Argentina.
  • Pavel Juráček & Jan Schmidt, Postava k podpírání, 1963, 35 mm, black-and-white, mono sound, 38 minutes, 1.37:1, Czech, Czechoslovakia.
  • Sidney Lumet, Fail-Safe, 1964, 35 mm, black-and-white, mono sound, 112 minutes, 1.85:1, English, USA.
  • Don Owen, Nobody Waved Good-bye, 1964, 16 mm, black-and-white, mono sound, 80 minutes, 1.66:1, English, Canada.
  • 勅使河原宏, 砂の女, 1964, 35 mm, black-and-white, mono sound, 147 minutes, 1.37:1, Japanese, Japan.
  • Francesco Rosi, Le mani sulla città, 1963, 35 mm, black-and-white, mono sound, 101 minutes, 1.85:1, Italian, Italy.
  • Francesco Rosi, Salvatore Giuliano, 1962, 35 mm, black-and-white, mono sound, 123 minutes, 1.85:1, Italian, Italy.
  • Jean-Luc Godard, Une femme est une femme, 1961, 35 mm, color, mono sound, 85 minutes, 2.35:1, French, France.
  • Jean-Luc Godard, Bande à part, 1964, 35 mm, black-and-white, mono sound, 97 minutes, 1.37:1, French, France.
  • Michael Roemer, Nothing But a Man, 1964, 35 mm, black-and-white, mono sound, 95 minutes, 1.37:1, English, USA.
  • Robert Rossen, Lilith, 1964, 35 mm, black-and-white, mono sound, 114 minutes, 1.85:1, English, USA.
  • 溝口健二, 新・平家物語, 1955, 35 mm, color, mono sound, 108 minutes, 1.37:1, Japanese, Japan.
  • Jonas Mekas, The Brig, 1964, 16 mm, black-and-white, mono sound, 68 minutes, 1.37:1, English, USA.
  • Alfred Leslie, The Last Clean Shirt, 1964, 16 mm, black-and-white, mono sound, 40 minutes, 1.37:1, Finnish, USA.
  • Andrzej Munk, Pasazerka, 1963, 35 mm, black-and-white, mono sound, 62 minutes, 1.85:1, Polish, Poland.
  • Joris Ivens, …A Valparaiso, 1963, 16 mm, black-and-white and color, mono sound, 26 minutes, 1.37:1, French, France.
  • Luis Buñuel, L’Âge d’Or, 1930, 35 mm, black-and-white, mono sound, 63 minutes, 1.20:1, French, France.
  • Luis Buñuel, Le journal d’une femme de chambre, 1964, 35 mm, black-and-white, mono sound, 97 minutes, 2.35:1, French, France.
  • 市川崑, 炎上, 1958, 35 mm, black-and-white, mono sound, 99 minutes, 2.35:1, Japanese, Japan.
  • Jörn Donner, Att älska, 1964, 35 mm, black-and-white, mono sound, 90 minutes, 1.66:1, Swedish, Sweden.
  • 市川崑, 太平洋ひとりぼっち, 1963, 35 mm, color, mono sound, 104 minutes, 2.35:1, Japanese, Japan.
  • Joseph Losey, King & Country, 1964, 35 mm, black-and-white, mono sound, 88 minutes, 1.66:1, English, UK.
  • Alain Jessua, La vie à l’envers, 1964, 35 mm, black-and-white, mono sound, 92 minutes, 1.85:1, French, France.
  • Bernardo Bertolucci, Prima della rivoluzione, 1964, 35 mm, black-and-white, mono sound, 115 minutes, 1.85:1, Italian, Italy.
  • 羽仁進, 彼女と彼, 1963, 35 mm, black-and-white, mono sound, 110 minutes, 1.37:1, Japanese, Japan.
  • Abel Gance, Cyrano et d’Artagnan, 1964, 35 mm, color, mono sound, 145 minutes, 2.35:1, French, France.
  • Tinto Brass, Ça ira – Il fiume della rivolta, 1964, 35 mm, black-and-white, mono sound, 89 minutes, 1.37:1, Italian, Italy.
  • Andrzej Wajda, Sibirska Ledi Magbet, 1962, 35 mm, black-and-white, mono sound, 93 minutes, 2.35:1, Serbo-Croatian, Poland.
  • সত্যজিত রায়, মহানগর, 1963, 35 mm, black-and-white, mono sound, 136 minutes, 1.37:1, Bengali, India.

March 2018 Capsules

In the Mood for Love (rewatch)
Wong Kar-wai’s films are full of ambiguities, little moments of languor or frenzied motion that don’t so much stick out of the dense textures as infuse them with an odd charge. But I can’t recall anything in his filmography quite like Mr. Chow’s and Mrs. Chan’s spouses, in both their exclusively back-facing appearances and their place in the emotional narrative. Aside from a few direct, curt but not impolite interactions, they function as structuring absences, fitting into the abbreviated scene structure of the first third of the film with furtive phone conversations, often comprised of single lines that convey a whole world of feeling, just outside of their spouses’ – and the viewer’s – comprehension. Chow’s wife, and perhaps Chan’s husband towards the end, leave them so suddenly that I didn’t even notice it on first watch, and yet they are brought to life by those reenactments, those attempts to subsume identities that can’t help but become something more real, more mysteriously captivating.

Inevitably, the most traditionally Wongian sentiments and dialogue come in the final interactions between Chow and Chan, almost sounding like the voiceover of one of his other film’s protagonists, when the emotional connections and bittersweet recollections of missed romances come to the fore. All else is cloaked and yearning, which the filmmaking makes almost unbearably heartbreaking.

The Day After
“…a rare art that utilizes concrete human forms to reveal the phenomenal disposition and attitude of humans.”

Ever since the introduction of the zoom, Hong’s filmmaking has relied to some palpable extent upon the conspicuous, the emphatic gesture of a tripod-mounted camera. But I can’t recall him utilizing his main outlet for stylistic flourishes to the degree that he does for most of the conversations, panning back and forth, never holding on one face for more than ten seconds at a time. This suits The Day After, undeniably fractious and heated even by Hong’s standards, and especially the frazzled headspace in which Bongwan (Kwon Hae-hyo) is in. But what makes it so much more effective are the “bookend” conversations, both of which display a deep well of disappointment, in which the camera holds on the two figures for the majority of the shot. At one end of the film, there is total deceit and a stubborn lack of clarity. At the other, genuine change and a willingness to embrace a new beginning. In the middle lies every emotion, every obsession, everything that comprises the films of Hong.

Close-Up (rewatch)
I feel like the conceptualization of Close-Up – both in the general film cultural sense and specifically in my recollection – as a seamless docufiction runs counter to the actual experience of seeing the film. In truth, it is a true hybrid, with something more than half the film taken up by the “real” courtroom scene, shot in 16mm, and the rest by “fictional” reenactments, shot in 35mm. Of course, Kiarostami’s touch in this is such that both take on elements of the other – in particular, the chronicling of certain moments (like the conversation in the taxi) that takes on a whole new charge when considering that real people are telling their own stories. But a key factor in what makes the ending so overwhelming is the long-awaited fusing of these two impulses. The real is shot with a clarity that nevertheless is interrupted; the viewer strains to hear what ultimately cannot be spoken, and can simply be expressed with universal languages: music and vision.