10th (1972): “The Next Picture Show” 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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Listen to the podcast here.
Subscribe to the podcast here.

Description
The tenth 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 tenth edition of the festival in 1972.

0:00-47:30 – Introduction [AFI Fest+]
47:31-1:02:44 – Opening
1:02:45-1:41:57 – Part One [Love in the Afternoon to A Sense of Loss]
1:41:58-2:20:13 – Part Two [Family Life to Nathalie Granger]
2:20:14-3:00:17 – Part Three [The Adversary to L’Amour fou]
3:00:18-3:51:03 – Part Four [Tout va bien to Last Tango in Paris]
3:51:04-3:56:45 – 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 Josef Albers
  • Recorded December 17, 2018
  • Released December 24, 2018
  • Music (in order of appearance):
    • Love in the Afternoon (opening night)
    • Tout va bien (another favorite)
    • Reminiscences of a Journey to Lithuania (another favorite)
    • We Won’t Grow Old Together (favorite of the first section)
    • Nathalie Granger (favorite of the second section)
    • L’Amour fou (favorite of the third section)
    • Two English Girls (favorite of the fourth section)
    • Last Tango in Paris (closing night)

General

  • Selection Committee: Richard Roud (program director), Richard Corliss, Arthur Knight, Arthur L. Mayer, Andrew Sarris, Susan Sontag, John Russell Taylor, Henri Langlois (retrospective consultant)
  • Location: Alice Tully Hall
  • Prices: 1-4, for opening and closing night 2, 4, 7.50, 10
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: N/A
      • Seen for the podcast: All available except The Assassination of Trotsky
      • Favorite films: L’Amour fou, Two English Girls, Love in the Afternoon, We Won’t Grow Old Together, The Discreet Charm of the Bourgeoisie, Nathalie Granter, Tout va bien, The Merchant of Four Seasons
      • Least favorite films: Summer Soldiers, Bad Company, Going Home, Family Life
      • Seen after the podcast: The Assassination of Trotsky (11th)
    • Dan
      • Seen before podcast watching period: Love in the Afternoon, We Won’t Grow Old Together, The Merchant of Four Seasons, Images, The King of Marvin Gardens, The Discreet Charm of the Bourgeoisie, Last Tango in Paris
      • Seen for the podcast: All available except A Sense of Loss, The Adversary, L’Amour fou; none rewatched
      • Favorite films: Two English Girls, Tout va bien, Reminiscences of a Journey to Lithuania, Nathalie Granger
      • Least favorite films: The Assassination of Trotsky, Summer Soldiers, Last Tango in Paris
  • Discoveries of the festival: Love, Red Psalm, Reminiscences of a Journey to Lithuania
  • Unavailable films: Behind the Wall

Main Slate

Opening Night: Love in the Afternoon [L’Amour l’après-midi] (1972, Eric Rohmer)
September 29, 9:15
Released 1972
Love [Szerelem] (1971, Károly Makk)
September 30, 6:30
Released 1973
We Won’t Grow Old Together [Nous ne vieillirons pas ensemble] (1972, Maurice Pialat)
September 30, 9:30
Released 2012
Summer Soldiers [Samâ sorujâ] (1972, Hiroshi Teshigahara)
October 1, 6:30
Never released
Red Psalm [Még kér a nép/And the People Still Ask] (1972, Miklós Jancsó)
Also: Behind the Wall [Za sciana] (1971, Krzysztof Zanussi)
October 1, 9:30
Released 1973/Never released
A Sense of Loss (1972, Marcel Ophuls)
October 2, 7:30
Released 1972
Family Life (1971, Ken Loach)
October 3, 7:30
Released 1972
Reminiscences of a Journey to Lithuania (1972, Jonas Mekas)
And: Going Home (1972, Adolfas Mekas)
October 4, 7:30
Released 1974/Never released
Heat (1972, Paul Morrissey)
October 5, 7:30
Released 1972
The Inner Scar [La cicatrice intérieure] (1972, Philippe Garrel)
October 6, 6:30
Never released
Nathalie Granger (1972, Marguerite Duras)
October 6, 9:30
Never released
The Adversary [Pratidwandi] (1970, Satyajit Ray)
October 7, 6:30
Released 1973
Bad Company (1972, Robert Benton)
October 7, 9:30
Released 1972
The Merchant of Four Seasons [Händler der vier Jahreszeiten] (1971, Rainer Werner Fassbinder)
October 8, 6:30
Released 1973
Images (1972, Robert Altman)
October 8, 9:30
Released 1972
L’Amour fou [Mad Love] (1969, Jacques Rivette)
October 9, 7:00
Released 1972
Tout va bien [Just Great] (1972, Jean-Luc Godard & Jean-Pierre Gorin)
October 10, 7:30
Released 1973
Two English Girls [Les Deux Anglaises et le Continent/The Two English Girls and the Continent] (1971, François Truffaut)
October 11, 7:30
Released 1972
The King of Marvin Gardens (1972, Bob Rafelson)
October 12, 7:30
Released 1972
The Assassination of Trotsky (1972, Joseph Losey)
October 13, 7:30
Released 1972
The Discreet Charm of the Bourgeoisie [Le Charme discret de la bourgeoisie] (1972, Luis Buñuel)
October 13, 11:00
Released 1972
Closing Night: Last Tango in Paris [Ultimo tango a Parigi] (1972, Bernardo Bertolucci)
October 14, 8:30
Released 1973

Ephemera

  • Panel discussions

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

  • Jean-Luc Godard: 1/1/13/17/2/5
  • Luis Buñuel: 1/1/6/6/1/2
  • Bernardo Bertolucci: 1/1/5/6/1/1
  • Satyajit Ray: 1/1/4/4/1
  • Marguerite Duras: 1/1/3/3
  • Miklós Jancsó: 1/1/3/3
  • Joseph Losey: 1/1/3/3
  • Eric Rohmer: 1/1/2/3
  • François Truffaut: 1/1/2/2/1
  • Rainer Werner Fassbinder: 1/1/2/2
  • Jean-Pierre Gorin: 1/1/2/2†(2/9/9)
  • Ken Loach: 1/1/2/2
  • Adolfas Mekas: 1/1/2/2†(2/6/6)
  • Jonas Mekas: 1/1/2/2
  • Marcel Ophuls: 1/1/2/2
  • Maurice Pialat: 1/1/2/2
  • Bob Rafelson: 1/1/2/2†(2/10/10)
  • Jacques Rivette: 1/1/2/2
  • Hiroshi Teshigahara: 1/1/2/2†(2/10/11)
  • Krzysztof Zanussi: 1/1/2/2
  • Robert Altman: 1/1/1/1
  • Philippe Garrel: 1/1/1/1
  • Károly Makk: 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)

  • France: 8/8/62/73/7
  • USA: 5/5/29/40/1
  • UK: 4/4/15/17/1
  • Hungary: 2/2/7/7
  • Italy: 1/1/25/29/2
  • West Germany: 1/1/10/10
  • India: 1/1/4/4/1
  • Japan: 1/1/12/14/1
  • Poland: 1/1/8/8

One-Time Directors

  • Robert Benton
  • Paul Morrissey

Feature Debuts

  • Robert Benton

Final Features

  • Adolfas Mekas

Festivals

  • NYFF World Premiere
    • Bad Company
    • The King of Marvin Gardens
    • Last Tango in Paris
    • A Sense of Loss
  • Cannes
    • Love (1971, Jury Prize)
    • Red Psalm (Best Director)
    • We Won’t Grow Old Together (Best Actor)
    • Images (Best Actress)
    • Heat (Directors’ Fortnight)
    • Summer Soldiers (Directors’ Fortnight)
    • The Inner Scar (?, also Berlin?)
  • Berlin
    • Family Life (Forum of New Film?, FIPRESCI, OCIC)
  • Venice
    • The Merchant of Four Seasons
  • Other
    • Tout va bien (Venice Counter-Festival)
  • N/A
    • The Adversary
    • L’Amour fou
    • The Assassination of Trotsky
    • Behind the Wall
    • The Discreet Charm of the Bourgeoisie
    • Going Home
    • Love in the Afternoon
    • Nathalie Granger
    • Reminiscences of a Journey to Lithuania
    • Two English Girls

Oscar Nominees

  • The Discreet Charm of the Bourgeoisie: Best Original Screenplay, Best Foreign Film (winner)
  • Last Tango in Paris: 1974 Best Director, Best Actor

Shorts/Panels

shorts

Discussions By Length (Approximate)

  • 12:35 Two English Girls (3:11:57-3:24:32)
  • 10:58 Last Tango in Paris (3:40:05-3:51:03)
  • 10:42 L’Amour fou [One Person] (2:49:35-3:00:17)
  • 10:37 Tout va bien (3:01:19-3:11:56)
  • 10:35 Reminiscences of a Journey to Lithuania/Going Home (1:49:13-1:59:48)
  • 9:15 Love in the Afternoon (1:03:44-1:12:59)
  • 7:47 Heat (1:59:49-2:07:36)
  • 7:44 The Adversary [One Person] (2:21:16-2:29:00)
  • 7:29 Nathalie Granger (2:12:44-2:20:13)
  • 7:03 The Discreet Charm of the Bourgeoisie (3:33:01-3:40:04)
  • 7:00 We Won’t Grow Old Together (1:16:52-1:23:52)
  • 6:59 The Merchant of Four Seasons (2:35:52-2:42:51)
  • 6:55 Summer Soldiers (1:23:53-1:30:48)
  • 6:50 Bad Company (2:29:01-2:35:51)
  • 6:44 Red Psalm (1:30:49-1:37:33)
  • 6:42 Images (2:42:52-2:49:34)
  • 6:14 Family Life (1:42:58-1:49:12)
  • 5:06 The Inner Scar (2:07:37-2:12:43)
  • 4:54 The King of Marvin Gardens (3:24:33-3:29:27)
  • 3:54 A Sense of Loss [One Person] (1:38:03-1:41:57)
  • 3:51 Love (1:13:00-1:16:51)
  • 3:32 The Assassination of Trotsky [One Person] (3:29:28-3:33:00)
  • 0:28 Behind the Wall [Unavailable] (1:37:34-1:38:02)

Specifications

  • Eric Rohmer, L’Amour l’après-midi, 1972, 35 mm, color, sound, 97 minutes, 1.37:1, France.
  • Károly Makk, Szerelem, 1971, 35 mm, black-and-white, sound, 88 minutes, 1.85:1, Hungary.
  • Maurice Pialat, Nous ne vieillirons pas ensemble, 1972, 35 mm, color, sound, 110 minutes, 1.66:1, France.
  • Hiroshi Teshigahara, Samâ sorujâ, 1972, 35 mm, color, sound, 107 minutes, 1.37:1, Japan.
  • Miklós Jancsó, Még kér a nép, 1972, 35 mm, color, sound, 87 minutes, 1.37:1, Hungary.
  • Krzysztof Zanussi, Za sciana, 1971, 35 mm, black-and-white, sound, 56 minutes, 1.37:1, Poland.
  • Marcel Ophuls, A Sense of Loss, 1972, 16 mm, color, sound, 135 minutes, 1.33:1, UK.
  • Ken Loach, Family Life, 1971, 35 mm, color, sound, 108 minutes, 1.37:1, UK.
  • Jonas Mekas, Reminiscences of a Journey to Lithuania, 1972, 16 mm, color and black-and-white, sound, 88 minutes, 1.33:1, USA.
  • Adolfas Mekas, Going Home, 1972, 16 mm, color, sound, 61 minutes. 1.33:1, USA.
  • Paul Morrissey, Heat, 1972, 16 mm, color, sound, 102 minutes, 1.33:1, USA.
  • Philippe Garrel, La cicatrice intérieure, 1972, 35 mm, color, sound, 60 minutes, 1.66:1, France.
  • Marguerite Duras, Nathalie Granger, 1972, 35 mm, black-and-white, sound, 83 minutes, 1.66:1, France.
  • Satyajit Ray, Pratidwandi, 1970, 35 mm, black-and-white, sound, 110 minutes, 1.37:1, India.
  • Robert Benton, Bad Company, 1972, 35 mm, color, sound, 93 minutes, 1.85:1, USA.
  • Rainer Werner Fassbinder, Händler der vier Jahreszeiten, 1971, 35 mm, color, sound, 88 minutes, 1.37:1, West Germany.
  • Robert Altman, Images, 1972, 35 mm, color, sound, 104 minutes, 2.39:1, UK.
  • Jacques Rivette, L’Amour fou, 1969, 35 mm and 16 mm, black-and-white, sound, 252 minutes, 1.85:1, France.
  • Jean-Luc Godard & Jean-Pierre Gorin, Tout va bien, 1972, 35 mm, color, sound, 95 minutes, 1.66:1, France.
  • François Truffaut, Les Deux Anglaises et le Continent, 1971, 35 mm, color, sound, 130 minutes, 1.66:1, France.
  • Bob Rafelson, The King of Marvin Gardens, 1972, 35 mm, color, sound, 103 minutes, 1.85:1, USA.
  • Joseph Losey, The Assassination of Trotsky, 1972, 35 mm, color, sound, 103 minutes, 1.85:1, UK.
  • Luis Buñuel, Le Charme discret de la bourgeoisie, 1972, 35 mm, color, sound, 102 minutes, 1.66:1, France.
  • Bernardo Bertolucci, Ultimo tango a Parigi, 1972, 35 mm, color, sound, 129 minutes, 1.85:1, Italy.

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

poster

Listen to the podcast here.
Subscribe to the podcast here.

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, sound, 91 minutes, 2.39:1, USSR.
  • Krzysztof Zanussi, Życie rodzinne, 1971, 35 mm, color, sound, 88 minutes, 1.66:1, Poland.
  • Peter Bogdanovich, The Last Picture Show, 1971, 35 mm, black-and-white, sound, 126 minutes, 1.85:1, USA.
  • Ermanno Olmi, Durante l’estate, 1971, 35 mm, color, sound, 105 minutes, 1.37:1, Italy.
  • Pier Paolo Pasolini, Il Decameron, 1971, 35 mm, color, sound, 111 minutes, 1.85:1, Italy.
  • Akira Kurosawa, Dodesukaden, 1970, 35 mm, color, sound, 140 minutes, 1.37:1, Japan.
  • Peter Bogdanovich, Directed by John Ford, 1971, 35 mm, color, sound, 99 minutes, 1.37:1, USA.
  • Werner Herzog, Fata Morgana, 1971, 35 mm, color, sound, 79 minutes, 1.37:1, West Germany.
  • Robert Bresson, Quatre nuits d’un rêveur, 1971, 35 mm, color, sound, 87 minutes, 1.66:1, France.
  • Rainer Werner Fassbinder, Pioniere in Ingolstadt, 1971, 35 mm, color, sound, 84 minutes, 1.37:1, West Germany.
  • Ivan Passer, Born to Win, 1971, 35 mm, color, sound, 88 minutes, 1.85:1, USA.
  • Marcel Ophuls, Le Chagrin et la Pitié, 1969, 16 mm, black-and-white, sound, 251 minutes, 1.66:1, France.
  • Peter Watkins, Punishment Park, 1971, 16 mm, color, sound, 91 minutes, 1.33:1, USA.
  • Marco Bellocchio, Nel nome del padre, 1971, 35 mm, color, sound, 115 minutes, 1.85:1, Italy.
  • Dusan Makavejev, W.R. – Misterije organizma, 1971, 16 mm and 35 mm, color and black-and-white, sound, 84 minutes, 1.37:1, Yugoslavia.
  • Abel Gance, Bonaparte et la Révolution, 1971, 35 mm, black-and-white, sound, 275 minutes, 1.37:1, France.
  • Henry Jaglom, A Safe Place, 1971, 35 mm, color, sound, 94 minutes, 1.85:1, USA.
  • Louis Malle, Le souffle au cœur, 1971, 35 mm, color, sound, 118 minutes, 1.66:1, France.

2018 Festival Dispatch #3 Show Notes

Listen to the podcast here.
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
  • 6th (1968): 26/25/22
  • 5th (1967): 26/23/22
  • 10th (1972): 24/22/24
  • 7th (1969): 23/23/20
  • 1st (1963): 21/21/21
  • 11th (1973): 19/18/17
  • 9th (1971): 18/18/18

Total: 274/252/239

Festivals by Primary Location:

  • Philharmonic Hall: 8
  • Alice Tully Hall: 3
  • Vivian Beaumont Theater: 1

Selection Committee Members:

  • Richard Roud (first program director): 11
  • Arthur Knight: 8
  • Andrew Sarris: 8
  • Susan Sontag: 7
  • Amos Vogel (original festival director): 6
  • Henri Langlois (retrospective consultant): 5
  • Richard Corliss: 3
  • Arthur L. Mayer: 3
  • 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: 6/6/1/2
  • Bernardo Bertolucci: 5/6/1/1
  • Satyajit Ray: 5/5/1
  • Robert Bresson: 5/5
  • Jean-Marie Straub & Danièle Huillet: 4/5/0/1
  • Alain Resnais: 4/4/2
  • Jerzy Skolimowski: 4/4/0/2
  • Claude Chabrol: 4/4/0/1
  • Werner Herzog: 4/4
  • Joseph Losey: 4/4
  • Ermanno Olmi: 4/4
  • Pier Paolo Pasolini: 3/5/0/1
  • Milos Forman: 3/3/2
  • François Truffaut: 3/3/2
  • Chris Marker: 3/3/1
  • Agnès Varda: 3/3/1
  • René Allio: 3/3†
  • Marguerite Duras: 3/3
  • Rainer Werner Fassbinder: 3/3
  • Miklós Jancsó: 3/3
  • Bo Widerberg: 3/3
  • Krzysztof Zanussi: 3/3
  • Kon Ichikawa: 2/3/0/1
  • Peter Whitehead: 2/3/0/1†
  • Gianni Amico: 2/3
  • Abel Gance: 2/3†
  • Eric Rohmer: 2/3
  • Peter Bogdanovich: 2/2/0/1†
  • Francesco Rosi: 2/2/0/1
  • Akira Kurosawa: 2/2/1
  • Marco Bellocchio: 2/2
  • Jean-Pierre Gorin: 2/2†
  • Kjell Grede: 2/2†
  • Alexander Kluge: 2/2
  • Masaki Kobayashi: 2/2†
  • Ken Loach: 2/2
  • Dusan Makavejev: 2/2†
  • Adolfas Mekas: 2/2†
  • Jonas Mekas: 2/2
  • Marcel Ophuls: 2/2
  • Ivan Passer: 2/2†
  • Maurice Pialat: 2/2
  • Bob Rafelson: 2/2†
  • Jacques Rivette: 2/2
  • Carlos Saura: 2/2
  • Martin Scorsese: 2/2
  • Hiroshi Teshigahara: 2/2†
  • Leopoldo Torre Nilsson: 2/2†
  • Peter Watkins: 2/2†
  • Jan Nemec: 1/3/0/1†
  • Joris Ivens: 1/2/1
  • Jiri Menzel: 1/2/1†
  • Jaromil Jires: 1/2†
  • Kenji Mizoguchi: 1/2†
  • Roberto Rossellini: 1/2
  • Jean Rouch: 1/2†
  • Grigori Kozintsev: 1/1/1
  • Louis Malle: 1/1/1
  • Gleb Panfilov: 1/1/1
  • Robert Altman: 1/1
  • Denys Arcand: 1/1
  • Ingmar Bergman: 1/1
  • Walerian Borowczyk: 1/1
  • John Cassavetes: 1/1
  • Carlos Diegues: 1/1
  • Philippe Garrel: 1/1
  • James Ivory: 1/1
  • Claude Lanzmann: 1/1
  • Sidney Lumet: 1/1
  • Károly Makk: 1/1
  • Jean-Pierre Melville: 1/1
  • Nagisa Oshima: 1/1
  • Sergei Paradjanov: 1/1
  • Aleksandar Petrovi: 1/1
  • Roman Polanski: 1/1
  • Glauber Rocha: 1/1
  • Michael Roemer: 1/1
  • Volker Schlöndorff: 1/1
  • Ousmane Sembène: 1/1
  • István Szabó: 1/1
  • Andrei Tarkovsky: 1/1
  • Luchino Visconti: 1/1
  • Andrzej Wajda: 1/1
  • Orson Welles: 1/1
  • Max Ophuls: 0/2
  • Jean Renoir: 0/2
  • 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
  • Albert & David Maysles: 0/1

Directors with only one appearance: 74
Directors with only one appearance whose appearance was a gala: 6

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: 67/78/8
  • USA: 32/43/2
  • Italy: 27/31/2
  • UK: 16/18/1
  • Japan: 12/14/1
  • West Germany: 12/13
  • Czechoslovakia: 11/13/3
  • Sweden: 10/10
  • Poland: 9/9
  • Hungary: 7/7
  • USSR: 5/5/2
  • India: 5/5/1
  • Yugoslavia: 5/5
  • Canada: 4/5
  • Spain: 3/3/1
  • Argentina: 3/3
  • Mexico: 2/2/1
  • Belgium: 2/2
  • Brazil: 2/2
  • Denmark: 2/2
  • Greece: 2/2
  • Senegal: 1/1
  • Germany: 0/1

Film Format:

  • 35mm: 228
  • 16mm: 42
  • 16mm and 35mm: 2
  • 35mm and 16mm: 2

Aspect Ratio:

  • 1.37:1: 92
  • 1.66:1: 64
  • 1.33:1: 45
  • 1.85:1: 40
  • 2.35:1: 23
  • 2.39:1: 4
  • 1.20:1: 4
  • 2.55:1: 1
  • 1.33:1 and 4.00:1: 1

B&W/Color:

  • Black & White: 148
  • Color: 108
  • Black & White and Color: 10
  • Color and Black & White: 8

Sound/Silent:

  • Sound: 262
  • Silent: 11
  • Silent/Sound: 1

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

  • 3rd (1965): 2815/100:32
  • 2nd (1964): 2759/91:58
  • 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
  • 9th (1971): 2126/118:07
  • 1st (1963): 2079/99:00

Total: 26855/98:01

Films Over Two-and-a-Quarter Hours

  • Les Vampires (3rd, 417)
  • Napoléon (5th, 333)
  • Bonaparte and the Revolution (9th, 275)
  • 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)
  • Israel Why (11th, 185)
  • Red Beard (3rd, 185)
  • Andrei Rublev (11th, 183)
  • Woman in the Dunes (2nd, 147)
  • Cyrano and d’Artagnan (2nd, 145)
  • Le Joli Mai (1st, 145)
  • Oh! What a Lovely War (7th, 144)
  • Dodes’ka-den (9th, 140)
  • Hamlet (2nd, 140)
  • The Nun (6th, 140)
  • 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: 5 [The Trial of Joan of Arc to Four Nights of a Dreamer]
  • Jean-Luc Godard: 5 [Alphaville to 2 or 3 Things I Know About Her]
  • Werner Herzog: 4 [Signs of Life to Land of Silence and Darkness]
  • Alain Resnais: 4 [Muriel, or the Time of Return to Je t’aime, je t’aime]
  • Jean-Marie Straub & Danièle Huillet: 4 [Not Reconciled to History Lessons]
  • 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]
  • Ermanno Olmi: 3 [One Fine Day to In the Summertime]
  • Agnès Varda: 3 [Les Créatures to Lions Love]
  • Krzysztof Zanussi: 3 [Family Life to The Illumination]

Notable Actors With Numerous Appearances

  • Jean-Pierre Léaud: 13
  • Anna Karina: 8
  • Stéphane Audran: 5
  • Pierre Clémenti: 5
  • Anne Wiazemsky: 5
  • Juliet Berto: 4
  • Dirk Bogarde: 4
  • Jean-Pierre Cassel: 4
  • Jeanne Moreau: 4
  • Michel Piccoli: 4
  • Delphine Seyrig: 4
  • Jean Yanne: 4
  • Jean-Paul Belmondo: 3
  • Bulle Ogier: 3
  • Fernando Rey: 3
  • Jean-Louis Trintignant: 3
  • Robert De Niro: 2
  • Catherine Deneuve: 2
  • Irm Hermann: 2
  • Dominique Sanda: 2
  • Hanna Schygulla: 2
  • Nathalie Baye: 1
  • Gérard Depardieu: 1
  • Harvey Keitel: 1
  • Bernadette Lafont: 1
  • Françoise Lebrun: 1

Number of world premieres: 17
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 documentaries (feature or short): 28
Films directed in part or whole by women: 16
Number of directorial debuts: 47
Number of final features: 7

Films premiered the same year as their festival appearance: 164
Films premiered the year before their festival appearance: 62
Films premiered more than one year before their festival appearance (non-retrospective): 23
Number of retrospectives: 25
Galas that premiered in a different year from their festival appearance: 6

Films released the same year as their festival appearance: 64
Films released one or two years after their festival appearance: 76
Films released more than two years after their festival appearance: 44
Films never released: 76
Retrospective films released before their festival appearance: 14

Films better known by their original titles rather than the English translation: 34
Films whose English titles differ from a direct translation of the original title: 44

2018 Festival Dispatch #2 Show Notes

Listen to the podcast here.
Subscribe to the podcast here.

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

8th (1970): “The Deluge” Show Notes

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

poster

Listen to the podcast here.
Subscribe to the podcast here.

Description
The eighth 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 eighth edition of the festival in 1970.

0:00-17:13 – Opening
17:14-1:19:40 – Part One [The Wild Child to Othon]
1:19:41-2:19:33 – Part Two [Le Boucher to Je t’aime, je t’aime]
2:19:34-2:53:46 – Part Three [The Inheritors to The Garden of Delights]
2:53:47-3:56:36 – Part Four [The Conformist to Tristana]
3:56:37-4:04:55 – 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 James Rosenquist
  • Recorded September 24, 2018
  • Released September 30, 2018
  • Music (in order of appearance):
    • The Wild Child (opening night)
    • Le Boucher (another favorite)
    • Othon (favorite of the first section)
    • Je t’aime, je t’aime (favorite of the second section)
    • La Musica (favorite of the third section)
    • The Conformist (favorite of the fourth section)
    • Tristana (closing night)

General

  • Selection Committee: Richard Roud (program director), Arthur Knight, Andrew Sarris, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Philharmonic Hall and Alice Tully Hall
  • Prices: 2.50 for terraces, 3.50 for orchestra, 4.50 for loge; ATH 2.50 and 3.50 for orchestra, 4.50 for loge; add 1.50 for opening night
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Five Easy Pieces
      • Seen for the podcast: All available; Five Easy Pieces rewatched
      • Favorite films: Othon, Je t’aime, je t’aime, Zorns Lemma, Le Boucher, The Crucified Lovers, The Conformist, Days and Nights in the Forest, The Wild Child
      • Least favorite films: Harry Munter, Comrades
      • Catch-Up Corner: One Fine Day (7th)
      • Seen after the podcast: Zorns Lemma rewatched (9th)
    • Dan
      • Seen before podcast watching period: The Wild Child, Five Easy Pieces, Le Boucher, The Crucified Lovers, The Conformist, Tristana
      • Seen for the podcast: All available except Une simple histoire, Even Dwarfs Started Small, The Spider’s Stratagem, The Cannibals; The Wild Child, Five Easy Pieces rewatched
      • Favorite films: Je t’aime, je t’aime, Othon, Wind From the East, Zorns Lemma, Days and Nights in the Forest
      • Least favorite films: Harry Munter, Comrades, The Scavengers
  • Discoveries of the festival: Days and Nights in the Forest, Wind From the East, Le Boucher
  • Unavailable films: Double Pisces, Scorpio Rising; Mistreatment; Street Scenes 1970; The Inheritors; From Lumiere to Langlois: The French Silent Cinema; Langlois; Praise Marx and Pass the Ammunition

Main Slate

Opening Night: The Wild Child [L’Enfant sauvage] (1970, François Truffaut)
September 10, 9:00
Released 1970
Wind From the East [Le Vent d’est] (1970, Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin)
September 11, 6:30 {Alice Tully Hall}
Never released
Five Easy Pieces (1970, Bob Rafelson)
September 11, 9:30
Released 1970
Zorns Lemma (1970, Hollis Frampton)
And: Double Pisces, Scorpio Rising (1970, Dick Fontaine)
September 12, 4:00
Never released/Never released
Othon [Les Yeux ne veulent pas en tout temps se fermer, ou Peut-être qu’un jour Rome se permettra de choisir à son tour/Eyes Do Not Want to Close at All Times, or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn] (1970, Jean-Marie Straub & Danièle Huillet)
September 12, 6:30 {Alice Tully Hall}
Released 1971
Le Boucher [The Butcher] (1970, Claude Chabrol)
September 12, 9:30
Released 1971
Comrades [Camarades] (1970, Marin Karmitz)
September 13, 1:30
Never released
Retrospective: The Crucified Lovers [Chikamatsu Monogatari/A Story From Chikamatsu] (1954, Kenji Mizoguchi)
September 13, 4:00 {Alice Tully Hall}
Released 1971
Mistreatment [Misshandlingen/Assault] (1969, Lars Lennart Forsberg)
September 13, 6:30 {Alice Tully Hall}
Never released
Kes (1969, Ken Loach)
September 13, 9:30
Released 1970
Street Scenes 1970 (1970, Martin Scorsese)
September 14, 6:30
Never released
Je t’aime, je t’aime [I Love You, I Love You] (1968, Alain Resnais)
September 14, 9:30
Released 1972
The Inheritors [Os Herdeiros] (1970, Carlos Diegues)
September 15, 6:30
Never released
La Musica [The Music] (1967, Marguerite Duras & Paul Seban)
September 15, 9:30
Never released
Une simple histoire [A Simple Story] (1959, Marcel Hanoun)
September 16, 6:30
Never released
Even Dwarfs Started Small [Auch Zwerge haben klein angefangen] (1970, Werner Herzog)
September 16, 9:30
Released 1971
The Spider’s Stratagem [Strategia del ragno] (1970, Bernardo Bertolucci)
September 17, 6:30
Released 1973
Harry Munter (1969, Kjell Grede)
September 17, 9:30
Never released
The Garden of Delights [El jardín de las delicias] (1970, Carlos Saura)
September 18, 6:30
Released 1971
The Conformist [Il conformista] (1970, Bernardo Bertolucci)
September 18, 9:30
Released 1971
From Lumiere to Langlois: The French Silent Cinema (1970, Henri Langlois)
Also: Langlois (1970, Elia Hershon & Roberto Guerra)
September 19, 2:00
Never released/Never released
Days and Nights in the Forest [Aranyēra Dinarātri/Daylight of the Forest] (1970, Satyajit Ray)
September 19, 6:30
Released 1973
The Cannibals [I cannibali] (1970, Liliana Cavani)
September 19, 9:30
Never released
Praise Marx and Pass the Ammunition (1970, Maurice Hatton)
September 20, 4:00
Never released
The Scavengers [I recuperanti/The Recoverers] (1970, Ermanno Olmi)
September 20, 6:30
Never released
“Closing Night”: Tristana (1970, Luis Buñuel)
September 20, 9:30
Released 1970

Ephemera

  • “American Voices”: 12 programs of films by and about minority groups in the America of today, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “Cinema and Color: 12 programs of films, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • 1927-1933: Medium Rare”: 10 programs of films, shown at Alice Tully Hall, all 2.25

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

  • Bernardo Bertolucci: 2/2/4/5/0/1
  • Jean-Luc Godard: 1/1/12/16/2/5
  • Luis Buñuel: 1/1/5/5/1/2
  • Alain Resnais: 1/1/4/4/2
  • Satyajit Ray: 1/1/3/3/1
  • Jean-Marie Straub & Danièle Huillet: 1/1/3/3
  • Claude Chabrol: 1/1/2/2
  • Marguerite Duras: 1/1/2/2
  • Werner Herzog: 1/1/2/2
  • Ermanno Olmi: 1/1/3/3
  • Carlos Saura: 1/1/2/2
  • François Truffaut: 1/1/1/1/1
  • Carlos Diegues: 1/1/1/1
  • Jean-Pierre Gorin: 1/1/1/1
  • Kjell Grede: 1/1/2/2†(2/8/8)
  • Ken Loach: 1/1/1/1
  • Bob Rafelson: 1/1/1/1
  • Martin Scorsese: 1/1/1/1
  • Kenji Mizoguchi: 0/1/1/2†(2/0/93)

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: 9/9/50/61/5
  • Italy: 5/5/21/25/1
  • USA: 3/3/19/30/1
  • UK: 3/3/11/13/1
  • Sweden: 2/2/10/10
  • Spain: 2/2/3/3/1
  • West Germany: 1/1/7/7
  • India: 1/1/3/3/1
  • Brazil: 1/1/2/2
  • Japan: 0/1/10/12/1

One-Time Directors

  • Liliana Cavani
  • Dick Fontaine
  • Lars Lennart Forsberg
  • Hollis Frampton
  • Groupe Dziga Vertov
  • Marcel Hanoun
  • Maurice Hatton
  • Elia Hershon & Roberto Guerra
  • Marin Karmitz
  • Henri Langlois
  • Paul Seban

Feature Debuts

  • Marguerite Duras
  • Lars Lennart Forsberg
  • Hollis Frampton
  • Jean-Pierre Gorin
  • Marcel Hanoun
  • Maurice Hatton
  • Elia Hershon & Roberto Guerra
  • Henri Langlois
  • Paul Seban

Festivals

  • NYFF World Premiere
    • Five Easy Pieces
    • Street Scenes 1970
    • Zorns Lemma
  • Cannes
    • Je t’aime, je t’aime (1968; also San Sebastian)
    • Harry Munter
    • Comrades (Critics’ Week)
    • Kes (Critics’ Week; also Karlov Vary, Crystal Globe)
    • Mistreatment (Critics’ Week)
    • The Cannibals (Directors’ Fortnight)
    • Even Dwarfs Started Small (Directors’ Fortnight)
    • The Inheritors (Directors’ Fortnight)
    • Othon (Directors’ Fortnight)
    • Wind From the East (Directors’ Fortnight)
    • Tristana (Out of Competition)
  • Berlin
    • The Conformist
    • Days and Nights in the Forest
    • The Wild Child (?)
  • Other
    • Le Boucher (San Sebastian, Best Actress)
  • N/A
    • The Crucified Lovers
    • Double Pisces, Scorpio Rising
    • From Lumiere to Langlois: The French Silent Cinema
    • The Garden of Delights
    • Langlois
    • La Musica
    • Praise Marx and Pass the Ammunition
    • The Scavengers
    • Une simple histoire
    • The Spider’s Stratagem

Oscar Nominees

  • Five Easy Pieces: Best Picture, Best Actor, Best Supporting Actress, Best Original Screenplay
  • The Conformist: Best Adapted Screenplay
  • Tristana: Best Foreign Film

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 16:38 The Conformist (2:54:44-3:11:22)
  • 14:59 Days and Nights in the Forest (3:14:13-3:29:12)
  • 14:17 Othon (1:05:23-1:19:40)
  • 13:35 Je t’aime, je t’aime (2:05:58-2:19:33)
  • 13:05 The Wild Child (18:11-31:16)
  • 12:16 Le Boucher (1:20:41-1:32:57)
  • 11:16 Wind From the East (31:17-42:33)
  • 11:09 Zorns Lemma (53:06-1:04:15)
  • 11:08 The Crucified Lovers (1:39:59-1:51:07)
  • 10:48 Kes (1:52:32-2:03:20)
  • 10:31 Five Easy Pieces (42:34-53:05)
  • 9:24 Tristana (3:47:12-3:56:36)
  • 9:03 The Cannibals [One Person] (3:29:13-3:38:16)
  • 7:57 La Musica (2:21:40-2:29:37)
  • 7:00 Comrades (1:32:58-1:39:58)
  • 6:52 The Scavengers (3:40:19-3:47:11)
  • 5:58 Harry Munter (2:44:22-2:50:20)
  • 5:28 Even Dwarfs Started Small [One Person] (2:33:25-2:38:53)
  • 5:27 The Spider’s Stratagem [One Person] (2:38:54-2:44:21)
  • 3:46 Une simple histoire [One Person] (2:29:38-2:33:24)
  • 3:25 The Garden of Delights (2:50:21-2:53:46)
  • 2:49 From Lumiere to Langlois: The French Silent Cinema [Unavailable] and Langlois [Unavailable] (3:11:23-3:14:12)
  • 2:36 Street Scenes 1970 [Unavailable] (2:03:21-2:05:57)
  • 2:01 Praise Marx and Pass the Ammunition [Unavailable] (3:38:17-3:40:18)
  • 1:23 Mistreatment [Unavailable] (1:51:08-1:52:31)
  • 1:06 The Inheritors [Unavailable] (2:20:33-2:21:39)
  • 1:06 Double Pisces, Scorpio Rising [Unavailable] (1:04:16-1:05:22)

Specifications

  • François Truffaut, L’Enfant sauvage, 1970, 35 mm, black-and-white, sound, 83 minutes, 1.66:1, France.
  • Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin, Le Vent d’est, 1970, 16 mm, color, sound, 95 minutes, 1.33:1, France.
  • Bob Rafelson, Five Easy Pieces, 1970, 35 mm, color, sound, 98 minutes, 1.85:1, USA.
  • Hollis Frampton, Zorns Lemma, 1970, 16 mm, color, sound, 60 minutes, 1.33:1, USA.
  • Dick Fontaine, Double Pisces, Scorpio Rising, 1970, 16 mm, color, sound, 58 minutes, 1.33:1, UK.
  • Jean-Marie Straub & Danièle Huillet, Les Yeux ne veulent pas en tout temps se fermer, ou Peut-être qu’un jour Rome se permettra de choisir à son tour, 1970, 16 mm, color, sound, 88 minutes, 1.33:1, Italy.
  • Claude Chabrol, Le Boucher, 1970, 35 mm, color, sound, 93 minutes, 1.85:1, France.
  • Marin Karmitz, Camarades, 1970, 16 mm, color, sound, 85 minutes, 1.66:1, France.
  • Kenji Mizoguchi, Chikamatsu Monogatari, 1954, 35 mm, black-and-white, sound, 102 minutes, 1.37:1, Japan.
  • Lars Lennart Forsberg, Misshandlingen, 1969, 35 mm, black-and-white, sound, 104 minutes, 1.37:1, Sweden. (?)
  • Ken Loach, Kes, 1969, 35 mm, color, sound, 111 minutes, 1.66:1, UK.
  • Martin Scorsese, Street Scenes 1970, 1970, 16 mm, black-and-white, sound, 75 minutes, 1.33:1, USA. (?)
  • Alain Resnais, Je t’aime, je t’aime, 1968, 35 mm, color, sound, 94 minutes, 1.66:1, France.
  • Carlos Diegues, Os Herdeiros, 1970, 35 mm, color, sound, 110 minutes, 1.37:1, Brazil. (?)
  • Marguerite Duras & Paul Seban, La Musica, 1967, 35 mm, black-and-white, sound, 80 minutes, 1.66:1, France.
  • Marcel Hanoun, Une simple histoire, 1959, 16 mm, black-and-white, sound, 68 minutes, 1.33:1, France.
  • Werner Herzog, Auch Zwerge haben klein angefangen, 1970, 35 mm, black-and-white, sound, 96 minutes, 1.37:1, West Germany.
  • Bernardo Bertolucci, Strategia del ragno, 1970, 35 mm, color, sound, 100 minutes, 1.37:1, Italy.
  • Kjell Grede, Harry Munter, 1969, 35 mm, color, sound, 101 minutes, 1.66:1, Sweden.
  • Carlos Saura, El jardín de las delicias, 1970, 35 mm, color, sound, 95 minutes, 1.85:1, Spain.
  • Bernardo Bertolucci, Il conformista, 1970, 35 mm, color, sound, 113 minutes, 1.66:1, Italy.
  • Henri Langlois, From Lumiere to Langlois: The French Silent Cinema, 1970, 35 mm, black-and-white, silent, 60 minutes, 1.33:1, France. (?)
  • Elia Hershon & Roberto Guerra, Langlois, 1970, 16 mm, color, sound, 52 minutes, 1.33:1, France. (?)
  • Satyajit Ray, Aranyēra Dinarātri, 1970, 35 mm, black-and-white, sound, 115 minutes, 1.37:1, India.
  • Liliana Cavani, I cannibali, 1970, 35 mm, color, sound, 88 minutes, 2.39:1, Italy.
  • Maurice Hatton, Praise Marx and Pass the Ammunition, 1970, 35 mm, color, sound, 90 minutes, 1.66:1, UK. (?)
  • Ermanno Olmi, I recuperanti, 1970, 35 mm, color, sound, 101 minutes, 1.37:1, Italy.
  • Luis Buñuel, Tristana, 1970, 35 mm, color, sound, 105 minutes, 1.66:1, Spain.

7th (1969): “New Site, Same Scene” Show Notes

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

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Description
The seventh 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 seventh edition of the festival in 1969, and features special guest Caden Mark Gardner, critic and co-publisher of Body Talk.

0:00-21:56 – Opening
21:57-1:21:11 – Part One [Bob & Carol & Ted & Alice to Boy]
1:21:12-2:27:41 – Part Two [Adalen 31 to My Night at Maud’s]
2:27:42-3:13:51 – Part Three [The Merry Widow to HE Who Gets Slapped]
3:13:52-4:00:43 – Part Four [Le Gai Savoir to Oh! What a Lovely War]
4:00:44-4:09:52 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Caden Mark Gardner
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles, Portland, and Schenectady on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Marisol Escobar
  • Recorded August 28, 2018
  • Released August 31, 2018
  • Music (in order of appearance):
    • Bob & Carol & Ted & Alice (opening night)
    • La Ronde (another favorite)
    • Boy (favorite of the first section)
    • My Night at Maud’s (favorite of the second section)
    • Destroy, She Said (favorite of the third section)
    • Mandabi (favorite of the fourth section)
    • Oh! What a Lovely War (closing night)

General

  • Selection Committee: Richard Roud (program director), Penelope Huston, Arthur Knight, Andrew Sarris, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Alice Tully Hall
  • Prices: 2.25 and 3.50 for orchestra, 4.50 for loge
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Bob & Carol & Ted & Alice, Le Gai Savoir
      • Seen for the podcast: All available except The Deserter and the Nomads and One Fine Day; Bob & Carol & Ted & Alice rewatched
      • Favorite films: My Night at Maud’s, Boy, La Ronde, Une femme douce, Destroy, She Said, Bob & Carol & Ted & Alice
      • Least favorite films: Goto, Island of Love
      • Seen after the podcast: One Fine Day (8th)
    • Dan
      • Seen before podcast watching period: Une femme douce, Boy, My Night at Maud’s
      • Seen for the podcast: All available except Oh! What a Lovely War; Bob & Carol & Ted & Alice and La Ronde rewatched
      • Favorite films: Boy, My Night at Maud’s, Destroy, She Said, La Ronde, Adalen 31
      • Least favorite films: Porcile, Goto, Island of Love, The Deserter and the Nomads
    • Caden
      • Seen before podcast watching period: Bob & Carol & Ted & Alice, Une femme douce, Boy, La Ronde, My Night at Maud’s, Le Gai Savoir
      • Seen for the podcast: All available except Oh! What a Lovely War; My Night at Maud’s rewatched
      • Favorite films: Boy, Une femme douce, My Night at Maud’s, Bob & Carol & Ted & Alice
      • Least favorite films: The Deserter and the Nomads
  • Discoveries of the festival: Destroy, She Said, Adalen 31, Oh! What a Lovely War
  • Unavailable films: The Lady From Constantinople, Pierre and Paul

Main Slate

Opening Night: Bob & Carol & Ted & Alice (1969, Paul Mazursky)
September 16, 6:30
Released 1969
The Joke [Žert] (1969, Jaromil Jires)
September 17, 6:30
Released 1970
Une femme douce [A Gentle Woman] (1969, Robert Bresson)
September 17, 9:30
Released 1971
The Lady From Constantinople [Sziget a szárazföldön/The Island on Land] (1969, Judit Elek)
September 18, 6:30
Never released
The Rite [Riten] (1969, Ingmar Bergman)
September 18, 9:30
Never released
Boy [Shōnen] (1969, Nagisa Oshima)
September 19, 6:30
Released 1970
Adalen 31 (1969, Bo Widerberg)
September 19, 9:30
Released 1969
The Epic That Never Was (1965, Bill Duncalf)
September 20, 12:00 AM
Never released
Lions Love (1969, Agnès Varda)
September 20, 9:30
Released 1969
Pierre and Paul [Pierre et Paul] (1969, René Allio)
September 21, 1:00
Never released
Retrospective: La Ronde [The Round Dance] (1950, Max Ophuls)
September 21, 9:30
Released 1954
My Night at Maud’s [Ma nuit chez Maud] (1969, Eric Rohmer)
September 23, 9:30
Released 1970
Retrospective: The Merry Widow (1925, Erich von Stroheim)
September 24, 6:30
Released 1925
Duet for Cannibals [Duett för kannibaler] (1969, Susan Sontag)
September 24, 9:30
Released 1969
Destroy, She Said [Détruire, dit-elle] (1969, Marguerite Duras)
September 25, 9:30
Released 1970
Goto, Island of Love [Goto, l’île d’amour] (1969, Walerian Borowczyk)
September 26, 9:30
Never released
Retrospective: HE Who Gets Slapped (1924, Victor Sjöström)
September 27, 1:00
Released 1924
Le Gai Savoir [Joy of Learning] (1969, Jean-Luc Godard)
September 27, 6:30
Released 1970
The Deserter and the Nomads [Zbehovia a pútnici/The Deceased and the Pilgrims] (1968, Juraj Jakubisko)
September 27, 9:30
Never released
Porcile [Pigsty] (1969, Pier Paolo Pasolin)
September 28, 6:30
Never released
Mandabi [The Money Order] (1968, Ousmane Sembène)
September 29, 9:30
Released 1970
One Fine Day [Un certo giorno/Some Day] (1968, Ermanno Olmi)
September 30, 9:30
Never released
“Closing Night”: Oh! What a Lovely War (1969, Richard Attenborough)
October 2, 6:30
Released 1969

Ephemera

  • “The National Film Collection”: 23 programs of American films from the National Film Collection at the Library of Congress, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “Avant-Garde West”: 9 programs of films by West Coast filmmakers, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “Open Programs”: 15 programs of features and shorts of all categories, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “Jean Renoir: A One-Man Show”: a virtually complete retrospective of Renoir’s films, shown in five series at the Library & Museum of the Performing Arts in Lincoln Center

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

  • Jean-Luc Godard: 1/1/11/15/2/5
  • Robert Bresson: 1/1/4/4
  • Pier Paolo Pasolini: 1/1/2/4/0/1
  • Agnès Varda: 1/1/3/3/1
  • René Allio: 1/1/3/3†(3/10/10)
  • Bo Widerberg: 1/1/3/3
  • Ermanno Olmi: 1/1/2/2
  • Jaromil Jires: 1/1/1/2†(1/22/22)
  • Eric Rohmer: 1/1/1/2
  • Ingmar Bergman: 1/1/1/1
  • Walerian Borowczyk: 1/1/1/1
  • Marguerite Duras: 1/1/1/1
  • Nagisa Oshima: 1/1/1/1
  • Ousmane Sembène: 1/1/1/1
  • Max Ophuls: 0/1/0/2
  • Erich von Stroheim: 0/1/0/2

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: 6/7/41/52/4
  • Sweden: 3/3/8/8
  • USA: 2/4/16/27/1
  • Italy: 2/2/16/20/1
  • Czechoslovakia: 2/2/11/13/3
  • UK: 2/2/8/10/1
  • Japan: 1/1/10/11/1
  • Hungary: 1/1/5/5
  • Senegal: 1/1/1/1

One-Time Directors

  • Richard Attenborough (gala)
  • Bill Duncalf
  • Judit Elek
  • Juraj Jakubisko
  • Paul Mazursky (gala)
  • Victor Sjöstrom (retrospective)
  • Susan Sontag

Feature Debuts

  • Richard Attenborough
  • Judit Elek
  • Paul Mazursky
  • Susan Sontag

Festivals

  • Cannes
    • Adalen 31 (Special Jury Prize)
    • My Night at Maud’s
    • Duet for Cannibals (Directors’ Fortnight)
    • Une femme douce (Directors’ Fortnight; also San Sebastian, Silver Seashell)
    • The Lady From Constantinople (Critics’ Week)
    • The Deserter and the Nomads (Out of Competition)
    • The Joke (?)
    • The Rite (?)
  • Berlin
    • Le Gai Savoir
  • Venice
    • Boy
    • Mandabi
  • N/A
    • Bob & Carol & Ted & Alice
    • Destroy, She Said
    • The Epic That Never Was
    • Goto, Island of Love
    • HE Who Gets Slapped
    • Lions Love
    • The Merry Widow
    • Oh! What a Lovely War
    • One Fine Day
    • Pierre and Paul
    • Porcile
    • La Ronde

Oscar Nominees

  • Bob & Carol & Ted & Alice: Best Original Screenplay, Best Supporting Actor, Best Supporting Actress, Best Cinematography
  • My Night at Maud’s: Best Foreign Film, 1970 Best Original Screenplay
  • Adalen 31: Best Foreign Film

Events/Shorts

events
renoir events
shorts

Discussions By Length (Approximate)

  • 19:50 Bob & Carol & Ted & Alice (22:57-42:47)
  • 14:57 My Night at Maud’s (2:12:44-2:27:41)
  • 14:35 Lions Love (1:45:41-2:00:16)
  • 13:35 Adalen 31 (1:22:03-1:35:38)
  • 12:20 Oh! What a Lovely War [One Person] (3:48:23-4:00:43)
  • 11:23 Boy (1:09:48-1:21:11)
  • 11:23 Destroy, She Said (2:48:05-2:59:18)
  • 11:13 La Ronde (2:01:30-2:12:43)
  • 10:59 Duet for Cannibals (2:37:05-2:48:04)
  • 10:24 Une femme douce (50:55-1:01:19)
  • 10:01 The Epic That Never Was (1:35:39-1:45:40)
  • 9:34 Mandabi (3:34:59-3:44:33)
  • 9:17 HE Who Gets Slapped (3:04:34-3:13:51)
  • 8:53 Le Gai Savoir (3:14:51-3:23:44)
  • 8:20 The Merry Widow (2:28:44-2:37:04)
  • 8:06 The Joke (42:48-50:54)
  • 7:17 The Rite (1:02:30-1:09:47)
  • 7:07 Porcile (3:27:51-3:34:58)
  • 5:14 Goto, Island of Love (2:59:19-3:04:33)
  • 4:05 The Deserter and the Nomads (3:23:45-3:27:50)
  • 3:48 One Fine Day (3:44:34-3:48:22)
  • 1:12 Pierre and Paul [Canceled] (2:00:17-2:01:29)
  • 1:09 The Lady From Constantinople [Canceled] (1:01:20-1:02:29)

Specifications

  • Paul Mazursky, Bob & Carol & Ted & Alice, 1969, 35 mm, color, sound, 105 minutes, 1.85:1, USA.
  • Jaromil Jires, Žert, 1969, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, Czechoslovakia.
  • Robert Bresson, Une femme douce, 1969, 35 mm, color, sound, 88 minutes, 1.66:1, France.
  • Judit Elek, Sziget a szárazföldön, 1969, 35 mm, color, sound, 79 minutes, 1.37:1, Hungary. (?)
  • Ingmar Bergman, Riten, 1969, 16 mm, black-and-white, sound, 72 minutes, 1.33:1, Sweden.
  • Nagisa Oshima, Shōnen, 1969, 35 mm, color and black-and-white, sound, 105 minutes, 2.35:1, Japan.
  • Bo Widerberg, Adalen 31, 1969, 35 mm, color, sound, 110 minutes, 2.35:1, Sweden.
  • Bill Duncalf, The Epic That Never Was, 1965, 35 mm, black-and-white, sound, 74 minutes, 1.37:1, UK.
  • Agnès Varda, Lions Love, 1969, 35 mm, color, sound, 110 minutes, 1.66:1, USA.
  • René Allio, Pierre et Paul, 1969, 35 mm, color, sound, 90 minutes, 1.66:1, France. (?)
  • Max Ophuls, La Ronde, 1950, 35 mm, black-and-white, sound, 93 minutes, 1.37:1, France.
  • Eric Rohmer, Ma nuit chez Maud, 1969, 35 mm, black-and-white, sound, 110 minutes, 1.37:1, France.
  • Erich von Stroheim, The Merry Widow, 1925, 35 mm, black-and-white, silent, 137 minutes, 1.33:1, USA.
  • Susan Sontag, Duett för kannibaler, 1969, 35 mm, black-and-white, sound, 105 minutes, 1.37:1, Sweden.
  • Marguerite Duras, Détruire, dit-elle, 1969, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, France.
  • Walerian Borowczyk, Goto, l’île d’amour, 1969, 16 mm, black-and-white and color, sound, 93 minutes, 1.66:1, France.
  • Victor Sjöström, HE Who Gets Slapped, 1924, 35 mm, black-and-white, silent, 80 minutes, 1.37:1, USA.
  • Jean-Luc Godard, Le Gai Savoir, 1969, 35 mm, color, sound, 95 minutes, 1.37:1, France.
  • Juraj Jakubisko, Zbehovia a pútnici, 1968, 35 mm, color, sound, 103 minutes, 1.37:1, Czechoslovakia.
  • Pier Paolo Pasolini, Porcile, 1969, 35 mm, color, sound, 99 minutes, 1.85:1, Italy.
  • Ousmane Sembène, Mandabi, 1968, 35 mm, color, sound, 90 minutes, 1.85:1, Senegal.
  • Ermanno Olmi, Un certo giorno, 1968, 35 mm, color, sound, 102 minutes, 1.37:1, Italy.
  • Richard Attenborough, Oh! What a Lovely War, 1969, 35 mm, color, sound, 144 minutes, 2.35:1, UK.

2018 Festival Dispatch #1 Show Notes

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Subscribe to the podcast here.

Description
The first 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 announcement of the 2018 main slate.

0:00-1:03:40 – Part One [The Favourite to Hotel by the River]
1:03:41-2:08:35 – Part Two [Roma to At Eternity’s Gate]

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded August 10, 2018
  • Released August 11, 2018
  • Music (in order of appearance):
    • Breathless
    • Still Life
    • Phoenix

6th (1968): “High Drama in Low Key” 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, Events/Shorts, Discussions By Length, Specifications

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Subscribe to the podcast here.

Description
The sixth 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 sixth edition of the festival in 1968, and features special guest Etan Weisfogel, cinephile and Twitter personality.

0:00-15:06 – Opening
15:07-1:18:27 – Part One [Capricious Summer to The Red and the White]
1:18:28-2:39:26 – Part Two [Mouchette to Kaya]
2:39:27-3:33:45 – Part Three [24 Hours in the Life of a Woman to Les Biches]
3:33:46-4:47:58 – Part Four [L’Enfance nue to The Firemen’s Ball]
4:47:59-4:59:07 – Closing

Corrections/Clarifications

  • The editing methodology for this episode shifted during The Chronicle of Anna Magdalena Bach.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Etan Weisfogel
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle, Portland, and Newark on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Henry Pearson
  • Recorded July 19, 2018
  • Released July 31, 2018
  • Music (in order of appearance):
    • Capricious Summer (opening night)
    • The Immortal Story (another favorite)
    • The Chronicle of Anna Magdalena Bach (favorite of the first section)
    • Lola Montés (favorite of the second section)
    • Les Biches (favorite of the third section)
    • Weekend (favorite of the fourth section)
    • The Firemen’s Ball (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director), Arthur Knight, Andrew Sarris, Susan Sontag
  • Location: Philharmonic Hall
  • Prices: 2 for terrace, 3 for orchestra, 4 for loge, with 1 added to all seats for opening night
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The Chronicle of Anna Magdalena Bach, 2 or 3 Things I Know About Her
      • Seen for the podcast: All available and One Plus One* except Beyond the Law; none rewatched
      • Favorite films: Weekend, Lola Montés, The Immortal Story, The Red and the White, The Chronicle of Anna Magdalena Bach, Mouchette, The Nun
      • Least favorite films: A Report on the Party and the Guests, Oratorio for Prague
    • Dan
      • Seen before podcast watching period: The Chronicle of Anna Magdalena Bach, Mouchette, The Nun, Lola Montès, Faces, L’enfance nue, The Firemen’s Ball
      • Seen for the podcast: All available except L’Argent and 24 Hours in the Life of a Woman; Faces, L’enfance nue rewatched
      • Favorite films: Weekend, The Chronicle of Anna Magdalena, Bach, Lola Montès, The Immortal Story, Mouchette, The Nun, Toni
      • Least favorite films: Partner., A Report on the Party and the Guests, Artists Under the Big Top: Perplexed, Beyond the Law
    • Etan
      • Seen before podcast watching period: The Chronicle of Anna Magdalena Bach, Lola Montès, Faces, L’Enfance nue, Weekend
      • Seen for the podcast: Toni, The Immortal Story, A Report on the Party and the Guests, Mouchette, 24 Hours in the Life of a Woman, 2 or 3 Things I Know About Her, Les Biches, The Firemen’s Ball; none rewatched
      • Favorite films: Lola Montès, L’Enfance nue, Les Biches, Faces, The Chronicle of Anna Magdalena Bach, Toni
      • Least favorite films: A Report on the Party and the Guests
  • Discoveries of the festival: 24 Hours in the Life of a Woman, One Plus One*, Les Biches
  • Unavailable films: Tropics, Kaya

Main Slate

Opening Night: Capricious Summer [Rozmarné léto] (1968, Jiri Menzel)
September 17, 9:00
Released 1968
Retrospective: Toni (1935, Jean Renoir)
September 18, 6:30
Released 1936
The Immortal Story [Une histoire immortelle] (1968, Orson Welles)
September 18, 9:30
Released 1969
The Chronicle of Anna Magdalena Bach [Chronik der Anna Magdalena Bach] (1968, Jean-Marie Straub & Danièle Huillet)
September 18, 6:30
Released 1969
A Report on the Party and the Guests [O slavnosti a hostech/The Party and the Guests] (1966, Jan Nemec)
September 19, 9:30
Released 1968
The Red and the White [Csillagosok, katonák/Stars, Soldiers] (1967, Miklós Jancsó)
September 20, 6:30
Released 1969
Mouchette (1967, Robert Bresson)
September 20, 9:30
Released 1970
Retrospective: L’Argent [Money] (1928, Marcel L’Herbier)
September 21, 5:30
Never released
The Nun [Suzanne Simonin, la Religieuse de Denis Diderot/Suzanne Simonin, The Nun of Denis Diderot] (1966, Jacques Rivette)
September 21, 9:30
Released 1971
Retrospective: Lola Montès (1955, Max Ophuls)
September 22, 6:30
Released 1969
Faces (1968, John Cassavetes)
September 22, 9:30
Released 1968
Tropics [Tropici] (1968, Gianni Amico)
September 23, 6:30
Released 1969
Partner. (1968, Bernardo Bertolucci)
September 23, 9:30
Released 1974
Kaya [Kaja, ubit ću te!/Kaya, I’ll Kill You!] (1967, Vatroslav Mimica)
September 24, 6:30
Released 1969
24 Hours in the Life of a Woman [Vingt-Quatre Heures de la vie d’une femme] (1968, Dominique Delouche)
September 24, 9:30
Never released
Signs of Life [Lebenszeichen] (1968, Werner Herzog)
September 25, 6:30
Never released
2 or 3 Things I Know About Her [2 ou 3 choses que je sais d’elle] (1967, Jean-Luc Godard)
September 25, 9:30
Released 1970
Artists Under the Big Top: Perplexed [Die Artisten in der Zirkuskuppel: Ratlos] (1968, Alexander Kluge)
September 26, 6:30
Never released
Les Biches [The Does] (1968, Claude Chabrol)
September 26, 9:30
Released 1968
L’Enfance nue [Naked Childhood] (1968, Maurice Pialat)
September 27, 6:30
Released 1970
Weekend (1967, Jean-Luc Godard)
September 27, 9:30
Released 1968
Canceled: One Plus One (1968, Jean-Luc Godard)
September 28, 12:00 AM
Released 1970
Hugo and Josephine [Hugo och Josefin] (1967, Kjell Grede)
September 28, 3:00
Never released
Beyond the Law (1968, Norman Mailer)
September 28, 6:30
Released 1968
Unannounced: Oratorio for Prague [Oratorium pro Prahu] (1968, Jan Nemec)
“Closing Night”: The Firemen’s Ball [Hoří, má panenko/He’s Burning, He’s Got a Doll] (1967, Milos Forman)
September 28, 9:30
Released 1968/Released 1968

Ephemera

  • Special Retrospective Matinee: The Boy With the Green Hair (Joseph Losey) and They Live by Night (Nicholas Ray); September 22, 3:00 at Philharmonic Hall
  • “Personal Cinema”: 8 programs of films made by underground/outsider/minority filmmakers, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “The Western”: 19 programs of silent and sound Westerns, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “Filmmakers on New Lifestyles”: 6 programs of films dealing with the new generation’s ways of life, shown at the Library and Museum of Performing Arts in Lincoln Center, all free

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

  • Jean-Luc Godard: 3/3/10/14/2/5
  • Milos Forman: 1/1/3/3/2
  • Jan Nemec: 1/2/1/3/0/1†(1/14/14)
  • Robert Bresson: 1/1/3/3
  • Bernardo Bertolucci: 1/1/2/3
  • Miklós Jancsó: 1/1/2/2
  • Alexander Kluge: 1/1/2/2
  • Jean-Marie Straub & Danièle Huillet: 1/1/2/2
  • Jiri Menzel: 1/1/1/2/1†(1/16/16)
  • Gianni Amico: 1/1/1/2
  • John Cassavetes: 1/1/1/1
  • Claude Chabrol: 1/1/1/1
  • Kjell Grede: 1/1/1/1
  • Werner Herzog: 1/1/1/1
  • Maurice Pialat: 1/1/1/1
  • Jacques Rivette: 1/1/1/1
  • Orson Welles: 1/1/1/1
  • Jean Renoir: 0/2/0/2
  • Max Ophuls: 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: 8/11/35/45/4
  • Czechoslovakia: 3/4/9/11/3
  • West Germany: 3/3/6/6
  • USA: 2/2/14/23
  • Italy: 2/2/14/18/1
  • UK: 1/1/6/8
  • Sweden: 1/1/5/5
  • Hungary: 1/1/4/4
  • Yugoslavia: 1/1/4/4

One-Time Directors

  • Dominique Delouche
  • Marcel L’Herbier (retrospective)
  • Norman Mailer
  • Vatroslav Mimica

Feature Debuts

  • Gianni Amico
  • Dominique Delouche
  • Kjell Grede
  • Werner Herzog
  • Maurice Pialat

Final Features

  • Max Ophuls (retrospective)

Festivals

  • NYFF World Premiere
    • Beyond the Law (?)
    • Oratorio for Prague
  • Cannes
    • The Nun (1966)
    • Mouchette (1967, OCIC)
    • Capricious Summer (also Karlovy Vary, Crystal Globe)
    • The Firemen’s Ball
    • The Red and the White
    • A Report on the Party and the Guests
    • 24 Hours in the Life of a Woman (also San Sebastian)
  • Berlin
    • Les Biches (Silver Bear for Best Actress)
    • The Chronicle of Anna Magdalena Bach
    • The Immortal Story
    • Signs of Life (Silver Bear Extraordinary Jury Prize)
    • Weekend
  • Venice
    • Artists Under the Big Top: Perplexed (Golden Lion)
    • L’Enfance nue
    • Faces (Volpi Cup for Best Actor, Pasinetti Award)
    • Partner. (also 1969 Cannes Directors’ Fortnight)
  • Other
    • Kaya (Pula)
    • Tropics (Pesaro)
  • N/A
    • L’Argent
    • Hugo and Josephine
    • Lola Montès
    • One Plus One
    • Toni
    • 2 or 3 Things I Know About Her

Oscar Nominees

  • Faces: Best Original Screenplay, Best Supporting Actor, Best Supporting Actress
  • The Firemen’s Ball: Best Foreign Film

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 23:36 Weekend (3:52:44-4:16:20)
  • 18:06 L’Enfance nue (3:34:37-3:52:43)
  • 16:25 Lola Montés (1:56:35-2:13:00)
  • 15:38 Faces (2:13:01-2:28:39)
  • 14:49 The Nun (1:41:45-1:56:34)
  • 13:42 24 Hours in the Life of a Woman (2:40:23-2:54:05)
  • 13:05 Mouchette (1:19:32-1:32:37)
  • 12:42 The Immortal Story (33:05-45:47)
  • 12:32 2 or 3 Things I Know About Her (3:00:58-3:13:30)
  • 12:02 Les Biches (3:21:43-3:33:45)
  • 11:14 A Report on the Party and the Guests (56:39-1:07:53)
  • 11:11 Toni (21:53-33:04)
  • 10:50 The Chronicle of Anna Magdalena Bach (45:48-56:38)
  • 10:33 The Red and the White (1:07:54-1:18:27)
  • 9:29 One Plus One* [One Person] (4:16:21-4:25:50)
  • 9:06 L’Argent [One Person] (1:32:38-1:41:44)
  • 8:11 Artists Under the Big Top: Perplexed (3:13:31-3:21:42)
  • 7:06 Partner. (2:30:50-2:37:56)
  • 6:51 Signs of Life (2:54:06-3:00:57)
  • 6:34 The Firemen’s Ball (4:41:24-4:47:58)
  • 5:46 Capricious Summer (16:06-21:52)
  • 5:32 Hugo and Josephine (4:25:51-4:31:23)
  • 5:28 Beyond the Law [One Person] (4:31:24-4:36:52)
  • 4:30 Oratorio for Prague (4:36:53-4:41:23)
  • 2:09 Tropics [Unavailable] (2:28:40-2:30:49)
  • 1:29 Kaya [Unavailable] (2:37:57-2:39:26)

Specifications

  • Jiri Menzel, Rozmarné léto, 1968, 35 mm, color, sound, 74 minutes, 1.37:1, Czechoslovakia.
  • Jean Renoir, Toni, 1935, 35 mm, black-and-white, sound, 81 minutes, 1.37:1, France.
  • Orson Welles, Une histoire immortelle, 1968, 35 mm, color, sound, 58 minutes, 1.66:1, France.
  • Jean-Marie Straub & Danièle Huillet, Chronik der Anna Magdalena Bach, 1968, 35 mm, black-and-white, sound, 94 minutes, 1.37:1, West Germany.
  • Jan Nemec, O slavnosti a hostech, 1966, 35 mm, black-and-white, sound, 71 minutes, 1.37:1, Czechoslovakia.
  • Miklós Jancsó, Csillagosok, katonák, 1967, 35 mm, black-and-white, sound, 90 minutes, 2.35:1, Hungary.
  • Robert Bresson, Mouchette, 1967, 35 mm, black-and-white, sound, 81 minutes, 1.66:1, France.
  • Marcel L’Herbier, L’Argent, 1928, 35 mm, black-and-white, silent, 195 minutes, 1.33:1, France.
  • Jacques Rivette, Suzanne Simonin, la Religieuse de Denis Diderot, 1966, 35 mm, color, sound, 140 minutes, 1.85:1, France.
  • Max Ophuls, Lola Montès, 1955, 35 mm, color, sound, 116 minutes, 2.55:1, France.
  • John Cassavetes, Faces, 1968, 16 mm, black-and-white, sound, 130 minutes, 1.66:1, USA.
  • Gianni Amico, Tropici, 1968, 35 mm, color, sound, 87 minutes, 1.85:1, Italy. (?)
  • Bernardo Bertolucci, Partner., 1968, 35 mm, color, sound, 105 minutes, 2.35:1, Italy.
  • Vatroslav Mimica, Kaja, ubit ću te!, 1967, 35 mm, color, sound, 87 minutes, 1.66:1, Yugoslavia. (?)
  • Dominique Delouche, Vingt-Quatre Heures de la vie d’une femme, 1968, 35 mm, color, sound, 84 minutes, 1.66:1, France.
  • Werner Herzog, Lebenszeichen, 1968, 35 mm, black-and-white, sound, 87 minutes, 1.37:1, West Germany.
  • Jean-Luc Godard, 2 ou 3 choses que je sais d’elle, 1967, 35 mm, color, sound, 87 minutes, 2.35:1, France.
  • Alexander Kluge, Die Artisten in der Zirkuskuppel: Ratlos, 1968, 35 mm, black-and-white and color, sound, 104 minutes, 1.37:1, West Germany.
  • Claude Chabrol, Les Biches, 1968, 35 mm, color, sound, 100 minutes, 1.66:1, France.
  • Maurice Pialat, L’Enfance nue, 1968, 35 mm, color, sound, 83 minutes, 1.66:1, France.
  • Jean-Luc Godard, Weekend, 1967, 35 mm, color, sound, 105 minutes, 1.66:1, France.
  • Jean-Luc Godard, One Plus One, 1968, 35 mm, color, sound, 100 minutes, 1.66:1, UK.
  • Kjell Grede, Hugo och Josefin, 1967, 35 mm, color, sound, 82 minutes, 1.37:1, Sweden.
  • Norman Mailer, Beyond the Law, 1968, 16 mm, black-and-white, sound, 110 minutes, 1.33:1, USA.
  • Jan Nemec, Oratorium pro Prahu, 1968, 35 mm, black-and-white, sound, 26 minutes, 1.37:1, Czechoslovakia.
  • Milos Forman, Hoří, má panenko, 1967, 35 mm, color, sound, 73 minutes, 1.37:1, Czechoslovakia.