9th (1971): “This Year, Who Knows?” 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/Panels, Discussions By Length, Specifications

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Description
The ninth 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 ninth edition of the festival in 1971.

0:00-28:52 – Opening
28:53-1:27:08 – Part One [The Debut to Dodes’ka-den]
1:27:09-2:10:52 – Part Two [Directed by John Ford to The Sorrow and the Pity]
2:10:53-3:19:36 – Part Three [Punishment Park to Murmur of the Heart]
3:19:37-3:25:01 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles on Zoom H4N and Sennheiser Microphones, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Frank Stella
  • Recorded October 29, 2018
  • Released October 31, 2018
  • Music (in order of appearance):
    • The Debut (opening night)
    • The Sorrow and the Pity (another favorite)
    • The Last Picture Show (favorite of the first section)
    • Four Nights of a Dreamer (favorite of the second section)
    • Punishment Park (favorite of the third section)
    • Murmur of the Heart (closing night)

General

  • Selection Committee: Richard Roud (program director), Richard Corliss, Arthur Knight, Arthur L. Mayer, Andrew Sarris, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Vivian Beaumont Theater
  • Prices: 1-4 for zones 1-4; 2 for zone 1, 3 for zone 2, 7.50 for zone 3, 10 for zone 4 for opening night
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The Last Picture Show
      • Seen for the podcast: All available; none rewatched
      • Favorite films: Punishment Park, Four Nights of a Dreamer, The Sorrow and the Pity, The Last Picture Show, Pioneers in Ingolstadt
      • Least favorite films: Born to Win
      • Rewatch Round-Up: Zorns Lemma (8th)
    • Dan
      • Seen before podcast watching period: The Last Picture Show, Directed by John Ford, Four Nights of a Dreamer, Murmur of the Heart
      • Seen for the podcast: All available except The Sorrow and the Pity; none rewatched
      • Favorite films: The Last Picture Show, Punishment Park, Pioneers in Ingolstadt, The Decameron
      • Least favorite films: Born to Win, W.R.: Mysteries of the Organism, Fata Morgana
  • Discoveries of the festival: Punishment Park, A Safe Place
  • Unavailable films: In the Summertime, Bonaparte and the Revolution

Main Slate

Opening Night: The Debut [Nachalo] (1970, Gleb Panfilov)
October 1, 8:30
Released 1971
Family Life [Życie rodzinne] (1971, Krzysztof Zanussi)
October 2, 6:30
Never released
The Last Picture Show (1971, Peter Bogdanovich)
October 2, 9:30
Released 1971
In the Summertime [Durante l’estate] (1971, Ermanno Olmi)
October 3, 7:30
Never released
The Decameron [Il Decameron] (1971, Pier Paolo Pasolini)
October 4, 7:30
Released 1971
Dodes’ka-den [Dodesukaden] (1970, Akira Kurosawa)
October 5, 7:30
Released 1974
Directed by John Ford (1971, Peter Bogdanovich)
October 6, 8:30
Never released
Fata Morgana (1971, Werner Herzog)
October 7, 7:30
Never released
Four Nights of a Dreamer [Quatre nuits d’un rêveur] (1971, Robert Bresson)
October 8, 7:30
Released 1972
Pioneers in Ingolstadt [Pioniere in Ingolstadt] (1971, Rainer Werner Fassbinder)
October 9, 6:30
Never released
Born to Win (1971, Ivan Passer)
October 9, 9:30
Released 1971
The Sorrow and the Pity [Le Chagrin et la Pitié] (1969, Marcel Ophuls)
October 10, 6:00
Released 1972
Punishment Park (1971, Peter Watkins)
October 11, 7:30
Released 1971
In the Name of the Father [Nel nome del padre] (1971, Marco Bellocchio)
October 12, 7:30
Released 1974
W.R.: Mysteries of the Organism [W.R. – Misterije organizma] (1971, Dusan Makavejev)
October 13, 7:30
Released 1971
Bonaparte and the Revolution [Bonaparte et la Révolution] (1971, Abel Gance)
October 14, 6:00
Never released
A Safe Place (1971, Henry Jaglom)
October 15, 7:30
Released 1971
“Closing Night:” Murmur of the Heart [Le souffle au cœur/The Breath in the Heart] (1971, Louis Malle)
October 16, 9:30
Released 1971

Ephemera

  • Panel discussions to widen the scope of the festival by going beyond the individual films to broader issues after In the Summertime, Dodes’ka-den, Fata Morgana, Four Nights of a Dreamer, Punishment Park, W.R.: Mysteries of the Organism, A Safe Place

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

  • Peter Bogdanovich: 2/2/2/2/0/1†(2/20/20)
  • Robert Bresson: 1/1/5/5
  • Ermanno Olmi: 1/1/4/4
  • Pier Paolo Pasolini: 1/1/3/5/0/1
  • Werner Herzog: 1/1/3/3
  • Abel Gance: 1/1/2/3†(2/2/40)
  • Akira Kurosawa: 1/1/2/2/1
  • Marco Bellocchio: 1/1/2/2
  • Dusan Makavejev: 1/1/2/2†(2/11/11)
  • Ivan Passer: 1/1/2/2†(2/11/11)
  • Peter Watkins: 1/1/2/2†(2/12/12)
  • Louis Malle: 1/1/1/1/1
  • Gleb Panfilov: 1/1/1/1/1
  • Rainer Werner Fassbinder: 1/1/1/1
  • Marcel Ophuls: 1/1/1/1
  • Krzysztof Zanussi: 1/1/1/1

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)

  • USA: 5/5/24/35/1
  • France: 4/4/54/65/6
  • Italy: 3/3/24/28/1
  • West Germany: 2/2/9/9
  • Japan: 1/1/11/13/1
  • Poland: 1/1/7/7
  • Yugoslavia: 1/1/5/5
  • USSR: 1/1/4/4/2

One-Time Directors

  • Henry Jaglom

Feature Debuts

  • Henry Jaglom

Final Features

  • Abel Gance

Festivals

  • NYFF World Premiere
    • The Last Picture Show
    • Born to Win
    • In the Name of the Father
    • A Safe Place
  • Cannes
    • Family Life
    • Fata Morgana (Directors’ Fortnight)
    • Murmur of the Heart
    • W.R.: Mysteries of the Organism (Directors’ Fortnight)
    • Pioneers in Ingolstadt (?)
  • Berlin
    • The Decameron (Silver Bear Extraordinary Jury Prize)
    • Four Nights of a Dreamer
  • Venice
    • Directed by John Ford
    • In the Summertime
  • Other
    • Punishment Park (Atlanta and Edinburgh)
    • The Sorrow and the Pity (Dinard, Grand Prize)
  • N/A
    • Bonaparte and the Revolution
    • The Debut
    • Dodes’ka-den

Oscar Nominees

  • The Last Picture Show: Best Picture, Best Director, Best Supporting Actor (winner and second nominee), Best Supporting Actress (winner and second nominee), Best Adapted Screenplay, Best Cinematography
  • The Sorrow and the Pity: Best Documentary
  • Dodes’ka-den: Best Foreign Film
  • Murmur of the Heart: 1972 Best Original Screenplay

Shorts/Panels

shorts

Discussions By Length (Approximate)

  • 16:49 The Last Picture Show (46:28-1:03:17)
  • 15:24 Punishment Park (2:23:36-2:39:00)
  • 11:56 Dodes’ka-den (1:15:12-1:27:08)
  • 11:48 Directed by John Ford (1:28:08-1:39:56)
  • 11:45 The Sorrow and the Pity [One Person] (2:11:50-2:23:35)
  • 10:28 The Decameron (1:04:43-1:15:11)
  • 9:51 W.R.: Mysteries of the Organism (2:46:30-2:56:21)
  • 8:59 Family Life (37:28-46:27)
  • 8:49 Four Nights of a Dreamer (1:47:52-1:56:41)
  • 8:46 Murmur of the Heart (3:10:50-3:19:36)
  • 7:54 Fata Morgana (1:39:57-1:47:51)
  • 7:37 The Debut (29:50-37:27)
  • 7:31 A Safe Place (3:03:18-3:10:49)
  • 7:28 In the Name of the Father (2:39:01-2:46:29)
  • 7:10 Born to Win (2:03:42-2:10:52)
  • 6:59 Pioneers in Ingolstadt (1:56:42-2:03:41)
  • 6:55 Bonaparte and the Revolution [Unavailable] (2:56:22-3:03:17)
  • 1:24 In the Summertime [Unavailable] (1:03:18-1:04:42)

Specifications

  • Gleb Panfilov, Nachalo, 1970, 35 mm, black-and-white, mono sound, 91 minutes, 2.35:1, Russian, USSR.
  • Krzysztof Zanussi, Życie rodzinne, 1971, 35 mm, color, mono sound, 88 minutes, 1.66:1, Polish, Poland.
  • Peter Bogdanovich, The Last Picture Show, 1971, 35 mm, black-and-white, mono sound, 126 minutes, 1.85:1, English, USA.
  • Ermanno Olmi, Durante l’estate, 1971, 35 mm, color, mono sound, 105 minutes, 1.37:1, Italian, Italy.
  • Pier Paolo Pasolini, Il Decameron, 1971, 35 mm, color, mono sound, 111 minutes, 1.85:1, Italian, Italy.
  • Akira Kurosawa, Dodesukaden, 1970, 35 mm, color, mono sound, 140 minutes, 1.37:1, Japanese, Japan.
  • Peter Bogdanovich, Directed by John Ford, 1971, 35 mm, color, mono sound, 99 minutes, 1.37:1, English, USA.
  • Werner Herzog, Fata Morgana, 1971, 35 mm, color, mono sound, 79 minutes, 1.37:1, German, West Germany.
  • Robert Bresson, Quatre nuits d’un rêveur, 1971, 35 mm, color, mono sound, 87 minutes, 1.66:1, French, France.
  • Rainer Werner Fassbinder, Pioniere in Ingolstadt, 1971, 35 mm, color, mono sound, 84 minutes, 1.37:1, German, West Germany.
  • Ivan Passer, Born to Win, 1971, 35 mm, color, mono sound, 88 minutes, 1.85:1, English, USA.
  • Marcel Ophuls, Le Chagrin et la Pitié, 1969, 16 mm, black-and-white, mono sound, 251 minutes, 1.66:1, French and German, France.
  • Peter Watkins, Punishment Park, 1971, 16 mm, color, mono sound, 91 minutes, 1.37:1, English, USA.
  • Marco Bellocchio, Nel nome del padre, 1971, 35 mm, color, mono sound, 115 minutes, 1.85:1, Italian, Italy.
  • Dusan Makavejev, W.R. – Misterije organizma, 1971, 16 mm and 35 mm, color and black-and-white, mono sound, 84 minutes, 1.37:1, Serbo-Croatian and English, Yugoslavia.
  • Abel Gance, Bonaparte et la Révolution, 1971, 35 mm, black-and-white, mono sound, 275 minutes, 1.37:1, French, France.
  • Henry Jaglom, A Safe Place, 1971, 35 mm, color, mono sound, 94 minutes, 1.85:1, English, USA.
  • Louis Malle, Le souffle au cœur, 1971, 35 mm, color, mono sound, 118 minutes, 1.66:1, French, France.

2018 Festival Dispatch #3 Show Notes

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Subscribe to the podcast here.

Description
The third 2018 festival dispatch 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 half of the 2018 New York Film Festival, and features guests Forrest Cardamenis, Courtney Duckworth, Caden Mark Gardner, Jeva Lange, Jason Miller, and Kyle Pletcher.

0:00-58:56 – Part One
58:57-1:48:21 – Part Two

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Guests: Forrest Cardamenis, Courtney Duckworth, Caden Mark Gardner, Jeva Lange, Jason Miller, Kyle Pletcher
  • Recorded in Los Angeles, New York City, Schenectady, and Trenton on Zoom H4N and Sennheiser Microphones and MacBook GarageBand and Audacity, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded October 13, 2018
  • Released October 27, 2018
  • Music (in order of appearance):
    • Historias extraordinarias
    • Kaili Blues
    • Happy Hour

New York Film Festival Running Tallies

Festivals by Number of Films/Programs/New Features:

  • 4th (1966): 31/25/22
  • 2nd (1964): 30/26/28
  • 8th (1970): 28/26/27
  • 3rd (1965): 28/25/18
  • 12th (1974): 28/21/20
  • 6th (1968): 26/25/22
  • 5th (1967): 26/23/22
  • 10th (1972): 24/22/24
  • 7th (1969): 23/23/20
  • 14th (1976): 22/19/17
  • 1st (1963): 21/21/21
  • 13th (1975): 21/20/20
  • 11th (1973): 19/18/17
  • 9th (1971): 18/18/18

Total: 345/312/296

Festivals by Primary Location:

  • Philharmonic Hall: 8
  • Alice Tully Hall: 5
  • Vivian Beaumont Theater: 1

Selection Committee Members:

  • Richard Roud (first program director): 14
  • Arthur Knight: 11 (1 as West Coast consultant)
  • Susan Sontag: 10
  • Andrew Sarris: 9
  • Henri Langlois (retrospective consultant): 8
  • Amos Vogel (original festival director): 6
  • Richard Corliss: 6
  • Arthur L. Mayer: 5
  • Roger Greenspun: 2
  • Charles Michener: 2
  • Penelope Huston: 1
  • John Russell Taylor: 1

Directors:
Key: films in the festival up to this point excluding shorts/omnibus/retrospectives, films up to this point including, number of gala spots (when applicable), number of festivals with more than one film shown (when applicable); † indicates filmmakers with no more films

  • Jean-Luc Godard: 13/17/2/5
  • Luis Buñuel: 7/11/1/3
  • Satyajit Ray: 6/6/1†
  • Robert Bresson: 6/6
  • Rainer Werner Fassbinder: 6/6
  • Bernardo Bertolucci: 5/6/1/1
  • Jean-Marie Straub & Danièle Huillet: 5/6/0/1
  • François Truffaut: 5/5/4
  • Alain Resnais: 5/5/2
  • Claude Chabrol: 5/5/0/1
  • Jacques Rivette: 5/5/0/1
  • Werner Herzog: 5/5
  • Miklós Jancsó: 5/5
  • Ermanno Olmi: 5/5
  • Jerzy Skolimowski: 4/4/0/2
  • Marguerite Duras: 4/4
  • Alexander Kluge: 4/4
  • Joseph Losey: 4/4
  • Pier Paolo Pasolini: 3/5/0/1
  • Eric Rohmer: 3/4/2
  • Milos Forman: 3/3/2
  • Akira Kurosawa: 3/3/1
  • Louis Malle: 3/3/1
  • Chris Marker: 3/3/1
  • Agnès Varda: 3/3/1
  • Francesco Rosi: 3/3/0/1†
  • René Allio: 3/3†
  • Marcel Ophuls: 3/3
  • Martin Scorsese: 3/3
  • Bo Widerberg: 3/3
  • Krzysztof Zanussi: 3/3
  • Luchino Visconti: 2/3/1
  • Kon Ichikawa: 2/3/0/1
  • Nagisa Oshima: 2/3/0/1
  • Peter Whitehead: 2/3/0/1†
  • Gianni Amico: 2/3
  • Abel Gance: 2/3†
  • Peter Bogdanovich: 2/2/0/1†
  • Marco Bellocchio: 2/2
  • Walerian Borowczyk: 2/2†
  • John Cassavetes: 2/2
  • Jean-Pierre Gorin: 2/2†
  • Kjell Grede: 2/2†
  • James Ivory: 2/2
  • Masaki Kobayashi: 2/2†
  • Ken Loach: 2/2
  • Dusan Makavejev: 2/2†
  • Adolfas Mekas: 2/2†
  • Jonas Mekas: 2/2
  • Ivan Passer: 2/2†
  • Maurice Pialat: 2/2
  • Bob Rafelson: 2/2†
  • Carlos Saura: 2/2
  • Volker Schlöndorff: 2/2†
  • Ousmane Sembène: 2/2
  • Alain Tanner: 2/2
  • Hiroshi Teshigahara: 2/2†
  • Leopoldo Torre Nilsson: 2/2†
  • Peter Watkins: 2/2†
  • Orson Welles: 2/2†
  • Wim Wenders: 2/2
  • Jan Nemec: 1/3/0/1†
  • Joris Ivens: 1/2/1
  • Jiri Menzel: 1/2/1†
  • Jaromil Jires: 1/2†
  • Albert Maysles: 1/2
  • David Maysles: 1/2†
  • Jean-Pierre Melville: 1/2
  • Kenji Mizoguchi: 1/2†
  • Roberto Rossellini: 1/2
  • Jean Rouch: 1/2†
  • Grigori Kozintsev: 1/1/1
  • Gleb Panfilov: 1/1/1
  • Robert Altman: 1/1
  • Denys Arcand: 1/1
  • Ingmar Bergman: 1/1
  • Eduardo de Gregorio: 1/1
  • Carlos Diegues: 1/1
  • Philippe Garrel: 1/1
  • Claude Goretta: 1/1
  • Barbara Kopple: 1/1
  • Claude Lanzmann: 1/1
  • Sidney Lumet: 1/1
  • Károly Makk: 1/1
  • Sergei Paradjanov: 1/1
  • Aleksandar Petrovi: 1/1
  • Roman Polanski: 1/1
  • Glauber Rocha: 1/1
  • Michael Roemer: 1/1
  • István Szabó: 1/1
  • Andrei Tarkovsky: 1/1
  • André Téchiné: 1/1
  • Andrzej Wajda: 1/1
  • Jean Renoir: 0/4
  • Max Ophuls: 0/3
  • Erich von Stroheim: 0/2
  • Michelangelo Antonioni: 0/1
  • Vera Chytilová: 0/1
  • Cecil B. DeMille: 0/1
  • Louis Feuillade: 0/1
  • Fritz Lang: 0/1
  • Rouben Mamoulian: 0/1

Directors with only one appearance: 85
Directors with only one appearance whose appearance was a gala: 7

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

  • France: 84/101/12
  • USA: 42/57/2
  • Italy: 31/36/3
  • West Germany: 23/24/1
  • UK: 19/21/1
  • Japan: 13/16/1
  • Czechoslovakia: 11/13/3
  • Poland: 10/10
  • Sweden: 10/10
  • Hungary: 8/8
  • USSR: 6/6/2
  • India: 6/6/1
  • Yugoslavia: 5/5
  • Canada: 4/5
  • Spain: 3/3/1
  • Argentina: 3/3
  • Brazil: 3/3
  • Switzerland: 4/4
  • Mexico: 2/3/1
  • Belgium: 2/2
  • Denmark: 2/2
  • Greece: 2/2
  • Senegal: 2/2
  • Taiwan: 1/1
  • Germany: 0/2

Film Format:

  • 35mm: 277
  • 16mm: 60
  • 35mm and 16mm: 4
  • 16mm and 35mm: 2
  • 35mm and 8mm: 1
  • 70mm: 1

Aspect Ratio:

  • 1.37:1: 161
  • 1.66:1: 87
  • 1.85:1: 45
  • 2.35:1: 29
  • 1.33:1: 10
  • 1.20:1: 7
  • 2.39:1: 2
  • 2.55:1: 1
  • 2.20:1: 1
  • 1.33:1 and 4.00:1: 1

B&W/Color:

  • Color: 161
  • Black & White: 160
  • Color and Black & White: 14
  • Black & White and Color: 10

Primary Language:

  • French: 95
  • English: 82
  • Italian: 29
  • German: 28
  • Japanese: 15
  • Czech: 10
  • Swedish: 10
  • Polish: 9
  • Spanish: 9
  • Hungarian: 7
  • Bengali: 6
  • Russian: 5
  • Serbo-Croatian: 5
  • French and English: 4
  • Portuguese: 3
  • French and English and German: 2
  • Greek: 2
  • Algerian and French: 1
  • Chinese Mandarin: 1
  • Danish: 1
  • Danish and Swedish: 1
  • Dutch: 1
  • English and Bengali: 1
  • English and French: 1
  • English and French and German: 1
  • English and German and French: 1
  • English and Italian: 1
  • Finnish: 1
  • French and English and Hebrew and German and Russian: 1
  • French and German: 1
  • French and Italian and Spanish: 1
  • Hungarian and Russian: 1
  • Italian and French: 1
  • Japanese and English: 1
  • Portuguese and Italian: 1
  • Serbo-Croatian and English: 1
  • Slovak: 1
  • Slovak and German: 1
  • Ukranian: 1
  • Wolof: 1
  • Wolof and French: 1

Sound/Silent:

  • Mono Sound: 327
  • Silent: 11
  • 4-Track Stereo Sound: 3
  • Silent/Mono Sound: 2
  • Stereo Sound: 1
  • 6-Track Stereo Sound: 1

Festivals by Total Running Time/Average Running Time per Film:

  • 3rd (1965): 2815/100:32
  • 12th (1974): 2811/100:24
  • 2nd (1964): 2759/91:58
  • 14th (1976): 2588/117:39
  • 5th (1967): 2575/99:02
  • 8th (1970): 2520/90:00
  • 4th (1966): 2515/81:08
  • 10th (1972): 2491/103:47
  • 6th (1968): 2450/94:14
  • 11th (1973): 2267/119:19
  • 7th (1969): 2258/98:10
  • 13th (1975): 2189/104:15
  • 9th (1971): 2126/118:07
  • 1st (1963): 2079/99:00

Total: 34443/99:50

Films Over Two-and-a-Quarter Hours

  • Les Vampires (3rd, 417)
  • Napoléon (5th, 333)
  • The Memory of Justice (14th, 278)
  • Bonaparte and the Revolution (9th, 275)
  • Out 1: Spectre (12th, 253)
  • L’Amour fou (10th, 252)
  • The Sorrow and the Pity (9th, 251)
  • Dr. Mabuse the Gambler (11th, 242)
  • The Mother and the Whore (11th, 217)
  • L’Argent (6th, 195)
  • Milestones (13th, 195)
  • Céline and Julie Go Boating (12th, 193)
  • Israel Why (11th, 185)
  • Red Beard (3rd, 185)
  • Andrei Rublev (11th, 183)
  • A Touch of Zen (14th, 180)
  • Kings of the Road (14th, 175)
  • A Woman Under the Influence (12th, 155)
  • Nana (14th, 150)
  • Woman in the Dunes (2nd, 147)
  • Cyrano and d’Artagnan (2nd, 145)
  • Le Joli Mai (1st, 145)
  • Oh! What a Lovely War (7th, 144)
  • Dersu Uzala (14th, 142)
  • Dodes’ka-den (9th, 140)
  • Hamlet (2nd, 140)
  • The Nun (6th, 140)
  • Ossessione (14th, 140)
  • Lacombe Lucien (12th, 138)
  • The Merry Widow (7th, 137)
  • The Big City (2nd, 136)

Longest Streaks of Consecutive Director Appearances (Three or More Features)

  • Bernardo Bertolucci: 6 [La commare secca to Last Tango in Paris]
  • Robert Bresson: 6 [The Trial of Joan of Arc to Lancelot du Lac]
  • Jean-Luc Godard: 5 [Alphaville to 2 or 3 Things I Know About Her]
  • Alain Resnais: 5 [Muriel, or the Time of Return to Stavisky…]
  • Jacques Rivette: 5 [The Nun to Duelle {discounting Out 1: Noli me tangere}]
  • Jean-Marie Straub & Danièle Huillet: 5 [Not Reconciled to Moses und Aron]
  • Luis Buñuel: 4 [The Milky Way to The Phantom of Liberty]
  • Werner Herzog: 4 [Signs of Life to Land of Silence and Darkness]
  • Jerzy Skolimowski: 4 [Identification Marks: None to Le Départ]
  • René Allio: 3 [The Shameless Old Lady to Pierre and Paul]
  • Luis Buñuel: 3 [The Exterminating Angel to Simon of the Desert]
  • Claude Chabrol: 3 [Le Boucher to Just Before Nightfall]
  • Milos Forman: 3 [Black Peter to The Firemen’s Ball]
  • Akira Kurosawa: 3 [Red Beard to Dersu Uzala {discounting Song of the Horse}]
  • Ermanno Olmi: 3 [One Fine Day to In the Summertime]
  • François Truffaut: 3 [Day for Night to Small Change]
  • Agnès Varda: 3 [Les Créatures to Lions Love]
  • Krzysztof Zanussi: 3 [Family Life to The Illumination]

Notable Actors With Numerous Appearances (First Appearance of Film Only)

  • Jean-Pierre Léaud: 14
  • Juliet Berto: 8
  • Anna Karina: 8
  • Bulle Ogier: 8
  • Michael Lonsdale: 7
  • Michel Piccoli: 7
  • Stéphane Audran: 6
  • Pierre Clémenti: 6
  • Irm Hermann: 6
  • Delphine Seyrig: 6
  • Jean-Paul Belmondo: 5
  • Ingrid Caven: 5
  • Jeanne Moreau: 5
  • Barbet Schroeder: 5
  • Anne Wiazemsky: 5
  • Adriana Asti: 4
  • Dirk Bogarde: 4
  • Jean-Pierre Cassel: 4
  • Peter Chatel: 4
  • Dominique Labourier: 4
  • Brigitte Mira: 4
  • Muni: 4
  • Marie-France Pisier: 4
  • Kurt Raab: 4
  • Fernando Rey: 4
  • Walter Sedlmayr: 4
  • Jean Yanne: 4
  • Ellen Bahl: 3
  • Harry Baer: 3
  • Julien Berthau: 3
  • Soumitra Chatterjee: 3
  • Gérard Depardieu: 3
  • François Fabian: 3
  • Rainer Werner Fassbinder: 3
  • El Hedi ben Salem: 3
  • Marlène Jobert: 3
  • Françoise Lebrun: 3
  • Philippe Léotard: 3
  • Jack Nicholson: 3
  • Hanna Schygulla: 3
  • Jean-Louis Trintignant: 3
  • Bernard Verley: 3
  • Orson Welles: 3
  • Jeff Bridges: 2
  • Robert De Niro: 2
  • Catherine Deneuve: 2
  • Peter Kern: 2
  • Bernadette Lafont: 2
  • Michèle Moretti: 2
  • Gena Rowlands: 2
  • Dominique Sanda: 2
  • Edith Scob: 2
  • Monica Vitti: 2
  • Nathalie Baye: 1
  • Aurore Clément: 1
  • Bruno Ganz: 1
  • Dennis Hopper: 1
  • Harvey Keitel: 1

Number of world premieres: 24
Number of Palme d’Or winners: 0
Number of Golden Bear winners: 3
Number of Golden Lion winners: 4
Number of Golden Leopard winners: 2
Number of Best Picture winners: 0
Number of New York Film Critics Circle Best Film winners: 2
Number of Los Angeles Film Critics Association Best Film Winners: 0
Number of National Society of Film Critics Best Film winners: 2

Number of documentaries (feature or short): 41
Films directed in part or whole by women: 24
Number of directorial debuts: 51
Number of final features: 9

Films premiered the same year as their festival appearance: 212
Films premiered the year before their festival appearance: 72
Films premiered more than one year before their festival appearance (non-retrospective): 27
Number of retrospectives: 34
Galas that premiered in a different year from their festival appearance: 8
Films that showed multiple times in the Main Slate: 4

Films released the same year as their festival appearance: 87
Films released one or two years after their festival appearance: 91
Films released more than two years after their festival appearance: 54
Films never released: 91
Retrospective films released before their festival appearance: 21
Replacement film released before its festival appearance: 1

Films better known by their original titles rather than the English translation: 44
Films whose English titles differ from a direct translation of the original title: 55
Films whose primary language differs from the primary production country’s official language(s): 32

New York Film Festival Editions Ranked

  1. 12th (1974)
  2. 8th (1970)
  3. 1st (1963)
  4. 11th (1973)
  5. 14th (1976)
  6. 5th (1967)
  7. 3rd (1965)
  8. 6th (1968)
  9. 13th (1975)
  10. 4th (1966)
  11. 10th (1972)
  12. 7th (1969)
  13. 9th (1971)
  14. 2nd (1964)

2018 Festival Dispatch #2 Show Notes

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Description
The second 2018 festival dispatch 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 first half of the 2018 New York Film Festival, and features guests Aret Frost, David Neary, and Kyle Pletcher.

0:00-52:36 – Part One
52:37-1:41:27 – Part Two

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Guests: Aret Frost, David Neary, Kyle Pletcher
  • Recorded in Los Angeles, New York City, and Trenton on Zoom H4N and Sennheiser Microphones and MacBook GarageBand and Audacity, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded October 6, 2018
  • Released October 9, 2018
  • Music (in order of appearance):
    • The Hole
    • The Day He Arrives
    • Trouble Every Day

October 2018 Capsules

A Star Is Born
Yes, “The Man That Got Away” might be the greatest musical number ever committed to film, but one sequence seems to capture the spirit of this extravagant, devastating masterpiece even better: “Born in a Trunk.” (Complicating this of course is the fact that “Born in a Trunk” was filmed after Cukor had finished his involvement with the film, though this only strengthens its connections to the machinations of Hollywood.) The medley of songs from numerous genres indulges in all the abstraction and expressionism possible in the American film industry, lunging through vividly contrasting set after set, with the only connective tissue being Garland’s voice and physicality. It is blatantly, gloriously unclear whether this is some part of Vicki Lester’s star-making role or a mental projection of her thinking on her past life through said role – notably, the Academy ratio of the film-within-the-film expands to CinemaScope in the span of a cut. Comparisons to Gene Kelly’s repeated intonations of “dignity, always dignity” or even “Broadway Melody” from Singin’ in the Rain are there, of course, but the lines between role, performer-in-a-role, and performer are even further blurred. And throughout, it is so clear that Vicki Lester is the real deal, that she must shine and diminish all around her. This is the film in less than 15 minutes; what makes it what is is the two and a half hours left: not one second is anything less than vital.