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] (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, 2.35:1, 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
  • 7th (1969): 23/23/20
  • 1st (1963): 21/21/21
  • 9th (1971): 18/18/18

Total: 231/212/198

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
  • 6th (1968): 2450/94:14
  • 7th (1969): 2258/98:10
  • 9th (1971): 2126/118:07
  • 1st (1963): 2079/99:00

Total: 22097/95:39

Festivals by Primary Location:

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

Selection Committee Members:

  • Richard Roud (program director): 9
  • Amos Vogel (festival director): 6
  • Arthur Knight: 6
  • Andrew Sarris: 6
  • Susan Sontag: 5
  • Henri Langlois (retrospective consultant): 3
  • Richard Corliss: 1
  • Penelope Huston: 1
  • Arthur L. Mayer: 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: 12/16/2/5
  • Luis Buñuel: 5/5/1/2
  • Robert Bresson: 5/5
  • Bernardo Bertolucci: 4/5/0/1
  • Alain Resnais: 4/4/2
  • Jerzy Skolimowski: 4/4/0/2
  • Ermanno Olmi: 4/4
  • Pier Paolo Pasolini: 3/5/0/1
  • Milos Forman: 3/3/2
  • Chris Marker: 3/3/1
  • Satyajit Ray: 3/3/1
  • Agnès Varda: 3/3/1
  • René Allio: 3/3†
  • Werner Herzog: 3/3
  • Jean-Marie Straub & Danièle Huillet: 3/3
  • Bo Widerberg: 3/3
  • Kon Ichikawa: 2/3/0/1
  • Peter Whitehead: 2/3/0/1†
  • Abel Gance: 2/3†
  • Peter Bogdanovich: 2/2/0/1†
  • Francesco Rosi: 2/2/0/1
  • Akira Kurosawa: 2/2/1
  • Marco Bellocchio: 2/2
  • Claude Chabrol: 2/2
  • Marguerite Duras: 2/2
  • Kjell Grede: 2/2†
  • Miklós Jancsó: 2/2
  • Alexander Kluge: 2/2
  • Masaki Kobayashi: 2/2†
  • Joseph Losey: 2/2
  • Dusan Makavejev: 2/2†
  • Ivan Passer: 2/2†
  • Carlos Saura: 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†
  • Gianni Amico: 1/2
  • Jaromil Jires: 1/2†
  • Kenji Mizoguchi: 1/2†
  • Eric Rohmer: 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
  • François Truffaut: 1/1/1
  • Ingmar Bergman: 1/1
  • Walerian Borowczyk: 1/1
  • John Cassavetes: 1/1
  • Carlos Diegues: 1/1
  • Rainer Werner Fassbinder: 1/1
  • Jean-Pierre Gorin: 1/1
  • James Ivory: 1/1
  • Ken Loach: 1/1
  • Sidney Lumet: 1/1
  • Adolfas Mekas: 1/1
  • Jonas Mekas: 1/1
  • Jean-Pierre Melville: 1/1
  • Marcel Ophuls: 1/1
  • Nagisa Oshima: 1/1
  • Sergei Paradjanov: 1/1
  • Aleksandar Petrovi: 1/1
  • Maurice Pialat: 1/1
  • Roman Polanski: 1/1
  • Bob Rafelson: 1/1
  • Jacques Rivette: 1/1
  • Glauber Rocha: 1/1
  • Michael Roemer: 1/1
  • Volker Schlöndorff: 1/1
  • Martin Scorsese: 1/1
  • Ousmane Sembène: 1/1
  • István Szabó: 1/1
  • Luchino Visconti: 1/1
  • Andrzej Wajda: 1/1
  • Orson Welles: 1/1
  • Krzysztof Zanussi: 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
  • Rouben Mamoulian: 0/1
  • Albert & David Maysles: 0/1

Directors with only one appearance: 72

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: 54/65/6
  • USA: 24/35/1
  • Italy: 24/28/1
  • Czechoslovakia: 11/13/3
  • Japan: 11/13/1
  • UK: 11/13/1
  • Sweden: 10/10
  • West Germany: 9/9
  • Poland: 7/7
  • Hungary: 5/5
  • Yugoslavia: 5/5
  • USSR: 4/4/2
  • Canada: 3/4
  • India: 3/3/1
  • 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

Film Format:

  • 35mm: 196
  • 16mm: 33
  • 16mm and 35mm: 2

Aspect Ratio:

  • 1.37:1: 82
  • 1.66:1: 53
  • 1.33:1: 35
  • 1.85:1: 31
  • 2.35:1: 24
  • 1.20:1: 4
  • 2.55:1: 1
  • 1.33:1 and 4.00:1: 1

B&W/Color:

  • Black & White: 141
  • Color: 76
  • Black & White and Color: 9
  • Color and Black & White: 5

Sound/Silent:

  • Sound: 220
  • Silent: 10
  • Silent/Sound: 1

Films Over Two-and-a-Quarter Hours

  • Les Vampires (3rd, 417)
  • Napoléon (5th, 333)
  • Bonaparte and the Revolution (9th, 275)
  • The Sorrow and the Pity (9th, 251)
  • L’Argent (6th, 195)
  • Red Beard (3rd, 185)
  • 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)

Number of documentaries (feature or short): 23
Films directed in part or whole by women: 13
Films released the same year as their festival appearance: 50
Films never released: 66

2018 Festival Dispatch #2 Show Notes

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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] (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] (1954, Kenji Mizoguchi)
September 13, 4:00 {Alice Tully Hall}
Released 1971
Mistreatment [Misshandlingen] (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] (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] (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, 2.35:1, 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] (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 (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] (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] (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, Festivals/Oscar Nominees, Events/Shorts, Discussions By Length, Specifications

poster

Listen to the podcast here.
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] (1966, Jan Nemec)
September 19, 9:30
Released 1968
The Red and the White [Csillagosok, katonák] (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] (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!] (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] (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.

5th (1967): “To See and Be Seen” 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

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Subscribe to the podcast here.

Description
The fifth 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 fifth edition of the festival in 1967.

0:00-12:42 – Opening
12:43-1:00:37 – Part One [The Battle of Algiers to Napoléon]
1:00:38-1:34:58 – Part Two [Funnyman to The Taking of Power by Louis XIV]
1:34:59-2:03:23 – Part Three [Barrier to The Other One]
2:03:24-2:38:47 – Part Four [Portrait of Jason to Far From Vietnam]
2:38:48-2:45:04 – Closing

Corrections/Clarifications

  • Elvira Madigan was Danish, while Sixten Sparre was Swedish.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Roy Lichtenstein
  • Recorded June 21, 2018
  • Released June 29, 2018
  • Music (in order of appearance):
    • The Battle of Algiers (opening night)
    • Le Départ (favorite soundtrack)
    • Napoléon (favorite of the first section)
    • The Taking of Power by Louis XIV (favorite of the second section)
    • Made in U.S.A (favorite of the third section)
    • Applause (favorite of the fourth section)
    • Far From Vietnam (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, 2.50 or 3 for orchestra, 3.50 or 4 for loge, with 1 added to all seats for opening night
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The Battle of Algiers
      • Seen for the podcast: All available; all rewatched
      • Favorite films: Napoléon, The Battle of Algiers, The Taking of Power by Louis XIV, Applause, Portrait of Jason
      • Least favorite films: Memorandum, Tonite Let’s All Make Love in London
      • Catch-Up Corner: Raven’s End (3rd)
    • Dan
      • Seen before podcast watching period: The Battle of Algiers, Samurai Rebellion
      • Seen for the podcast: All available except Memorandum; none rewatched
      • Favorite films: Napoléon, Portrait of Jason, The Battle of Algiers, The Taking of Power by Louis XIV
      • Least favorite films: Young Törless, Le Départ, Barrier, Let’s All Make Love in London
      • Catch-Up Corner: The Wedding March (3rd)
  • Discoveries of the festival: Far From Vietnam, Applause, Yesterday Girl
  • Unavailable films: Hot Years, Funnyman, Puss & Kram, The Benefit of the Doubt, The Other One, A Mother’s Heart

Main Slate

Opening Night: The Battle of Algiers [La battaglia di Algeri] (1966, Gillo Pontecorvo)
September 20, 9:00
Released 1967
Hot Years [Tople godine] (1966, Dragoslav Lazic)
September 21, 6:30
Never released
Yesterday Girl [Abschied von gestern] (1966, Alexander Kluge)
September 21, 9:30
Never released
Love Affair, or the Case of the Missing Switchboard Operator [Ljubavni slučaj ili tragedija službenice P.T.T.] (1967, Dusan Makavejev)
September 22, 6:30
Released 1968
Le Départ [The Departure] (1967, Jerzy Skolimowski)
September 22, 9:30
Released 1968
Retrospective: Napoléon (1927, Abel Gance)
September 23, 1:30
Released 1929
Funnyman (1967, John Korty)
September 23, 6:30
Released 1971
Hugs and Kisses [Puss och Kram] (1967, Jonas Cornell)
September 23, 9:30
Released 1968
Young Törless [Der junge Törless] (1966, Volker Schlöndorff)
September 24, 6:30
Released 1968
Samurai Rebellion [Jōi-uchi: Hairyō tsuma shimatsu] (1967, Masaki Kobayashi)
September 24, 9:30
Released 1968
The Lion Hunters [La chasse au lion à l’arc] (1965, Jean Rouch)
Also: Memorandum (1965, Donald Brittain & John Spotton)
September 25, 6:30
Never released/Never released
The Taking of Power by Louis XIV [La prise de pouvoir par Louis XIV] (1966, Roberto Rossellini)
September 25, 9:30
Released 1970
Barrier [Bariera] (1966, Jerzy Skolimowski)
September 26, 6:30
Never released
“The London Scene”
Tonite Let’s All Make Love in London (1967, Peter Whitehead)
The Benefit of the Doubt (1967, Peter Whitehead)
September 26, 9:30
Never released/Never released
Retrospective: Les Carabiniers [The Riflemen] (1963, Jean-Luc Godard)
September 27, 6:30
Released 1968
Made in U.S.A (1966, Jean-Luc Godard)
September 27, 9:30
Released 1981
Father [Apa] (1966, István Szabó)
September 28, 6:30
Released 1967
The Other One [L’une et l’autre] (1967, René Allio)
September 28, 9:30
Released 1967
Portrait of Jason (1967, Shirley Clarke)
September 29, 6:30
Released 1967
Elvira Madigan (1967, Bo Widerberg)
September 29, 9:30
Released 1967
Retrospective: Applause (1929, Rouben Mamoulian)
Also: Show People (1928, King Vidor)
September 30, 3:00
Released 1929/Released 1928
A Mother’s Heart [Serdtse materi] (1966, Mark Donskoy)
September 30, 6:30
Released 1967
“Closing Night”: Far From Vietnam [Loin du Vietnam] (1967, Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda)
September 30, 9:30
Released 1968

Ephemera

  • “A Tribute to Abel Gance”: 8 films presented in conjunction with the Cinémathèque Française, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “The Social Cinema in America”: 21 events investigating current trends in American documentary cinema, held 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: 2/3/7/11/2/4
  • Jerzy Skolimowski: 2/2/4/4/0/2
  • Peter Whitehead: 2/2/2/3/0/1†(2/8/8)
  • Alain Resnais: 1/1/3/3/2
  • Chris Marker: 1/1/3/3/1
  • René Allio: 1/1/2/2
  • Masaki Kobayashi: 1/1/2/2†(2/10/22)
  • Agnès Varda: 1/1/2/2/1
  • Bo Widerberg: 1/1/2/2
  • Joris Ivens: 1/1/1/2/1
  • Roberto Rossellini: 1/1/1/2
  • Jean Rouch: 1/1/1/2†(1/32/38)
  • Alexander Kluge: 1/1/1/1
  • Dusan Makavejev: 1/1/1/1
  • Volker Schlöndorff: 1/1/1/1
  • István Szabó: 1/1/1/1
  • Abel Gance: 0/1/1/2
  • Rouben Mamoulian: 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: 5/7/27/34/4
  • USA: 2/4/12/21
  • UK: 2/2/5/7
  • Sweden: 2/2/4/4
  • West Germany: 2/2/3/3
  • Yugoslavia: 2/2/3/3
  • Italy: 1/1/12/16/1
  • Japan: 1/1/9/10/1
  • Poland: 1/1/6/6
  • Canada: 1/1/3/4
  • USSR: 1/1/3/3/1
  • Hungary: 1/1/3/3
  • Belgium: 1/1/2/2

One-Time Directors

  • Donald Brittain & John Spotton
  • Shirley Clarke
  • Jonas Cornell
  • Mark Donskoy
  • William Klein (gala)
  • John Korty
  • Dragoslav Lazic
  • Claude Lelouch (gala)
  • Gillo Pontecorvo (gala)
  • King Vidor (retrospective)

Feature Debuts

  • Jonas Cornell
  • Alexander Kluge
  • Dragoslav Lazic
  • Rouben Mamoulian (retrospective)
  • Volker Schlöndorff

Festivals

  • Cannes
    • Young Törless (1966, FIPRESCI)
    • Elvira Madigan (Best Actress)
    • Love Affair, or the Case of the Missing Switchboard Operator (Critics’ Week)
  • Berlin
    • Le Départ (Golden Bear)
  • Venice
    • The Battle of Algiers (1966, Golden Lion, FIPRESCI)
    • Yesterday Girl (1966, Special Jury Prize)
    • Samurai Rebellion (FIPRESCI)
    • The Lion Hunters (?)
    • The Other One (?)
    • The Taking of Power by Louis XIV (?)
  • Other
    • A Mother’s Heart (San Sebastian)
    • Barrier (Bergamo, Grand Prize)
    • Far From Vietnam (Montreal)
    • Father (Moscow, Grand Prize)
    • Hot Years (Mannheim; Pesaro)
    • Hugs and Kisses (Pesaro)
    • Made in U.S.A (London)
    • Memorandum (San Francisco)
  • N/A
    • Applause
    • The Benefit of the Doubt
    • Les Carabiniers
    • Funnyman
    • Napoléon
    • Portrait of Jason
    • Show People
    • Tonite Let’s All Make Love in London

Oscar Nominees

  • The Battle of Algiers: 1966 Best Foreign Film, 1968 Best Director, 1968 Best Screenplay

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 21:34 Napoléon (39:03-1:00:37)
  • 10:05 Far From Vietnam (2:28:42-2:38:47)
  • 9:14 The Taking of Power by Louis XIV (1:25:44-1:34:58)
  • 8:09 Portrait of Jason (2:04:21-2:12:30)
  • 7:54 The Battle of Algiers (13:41-21:35)
  • 6:50 “The London Scene” (1:40:02-1:46:52)
  • 6:30 The Lion Hunters (1:14:24-1:20:54)
  • 6:28 Made in U.S.A (1:52:03-1:58:31)
  • 5:51 Yesterday Girl (22:35-28:26)
  • 5:35 Le Départ (33:27-39:02)
  • 5:33 Applause (2:17:18-2:22:51)
  • 5:09 Les Carabiniers (1:46:53-1:52:02)
  • 4:59 Love Affair, or the Case of the Missing Switchboard Operator (28:27-33:26)
  • 4:55 Young Törless (1:04:41-1:09:36)
  • 4:48 Memorandum [One Person] (1:20:55-1:25:43)
  • 4:46 Samurai Rebellion (1:09:37-1:14:23)
  • 4:46 Elvira Madigan (2:12:31-2:17:17)
  • 4:18 Show People (2:22:52-2:27:10)
  • 4:06 Barrier (1:35:55-1:40:01)
  • 3:32 Father (1:58:32-2:02:04)
  • 1:47 Funnyman [Unavailable] (1:01:42-1:03:29)
  • 1:30 A Mother’s Heart [Unavailable] (2:27:11-2:28:41)
  • 1:18 The Other One [Unavailable] (2:02:05-2:03:23)
  • 1:00 Hugs and Kisses [Unavailable] (1:03:30-1:04:40)
  • 0:58 Hot Years [Unavailable] (21:36-22:34)

Specifications

  • Gillo Pontecorvo, La battaglia di Algeri, 1966, 35 mm, black-and-white, sound, 121 minutes, 1.85:1, Italy.
  • Dragoslav Lazic, Tople godine, 1966, 35 mm, black-and-white, sound, 85 minutes, 1.66:1, Yugoslavia. (?)
  • Alexander Kluge, Abschied von gestern, 1966, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, West Germany.
  • Dusan Makavejev, Ljubavni slučaj ili tragedija službenice P.T.T., 1967, 35 mm, black-and-white, sound, 79 minutes, 1.66:1, Yugoslavia.
  • Jerzy Skolimowski, Le Départ, 1967, 35 mm, black-and-white, sound, 93 minutes, 1.66:1, Belgium.
  • Abel Gance, Napoléon, 1927, 35 mm, black-and-white, silent, 333 minutes, 1.33:1 and 4.00:1, France.
  • John Korty, Funnyman, 1967, 35 mm, black-and-white and color, sound, 102 minutes, 1.85:1, USA.
  • Jonas Cornell, Puss och Kram, 1967, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, Sweden.
  • Volker Schlöndorff, Der junge Törless, 1966, 35 mm, black-and-white, sound, 87 minutes, 1.37:1, West Germany.
  • Masaki Kobayashi, Jōi-uchi: Hairyō tsuma shimatsu, 1967, 35 mm, black-and-white, sound, 128 minutes, 2.35:1, Japan.
  • Jean Rouch, La chasse au lion à l’arc, 1965, 16 mm, color, sound, 81 minutes, 1.33:1, France.
  • Donald Brittain & John Spotton, Memorandum, 1965, 16 mm, black-and-white, sound, 58 minutes, 1.33:1, Canada.
  • Roberto Rossellini, La prise de pouvoir par Louis XIV, 1966, 16 mm, color, sound, 100 minutes, 1.33:1, France.
  • Jerzy Skolimowski, Bariera, 1966, 35 mm, black-and-white, sound, 77 minutes, 1.66:1, Poland.
  • Peter Whitehead, Tonite Let’s All Make Love in London, 1967, 16 mm, color and black-and-white, sound, 57 minutes, 1.33:1, UK.
  • Peter Whitehead, The Benefit of the Doubt, 1967, 16 mm, black-and-white and color, sound, 70 minutes, 1.33:1, UK.
  • Jean-Luc Godard, Les Carabiniers, 1963, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, France.
  • Jean-Luc Godard, Made in U.S.A, 1966, 35 mm, color, sound, 90 minutes, 2.35:1, France.
  • István Szabó, Apa, 1966, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, Hungary.
  • René Allio, L’une et l’autre, 1967, 35 mm, color, sound, 90 minutes, 1.66:1, France. (?)
  • Shirley Clarke, Portrait of Jason, 1967, 35 mm, black-and-white, sound, 105 minutes, 1.37:1, USA.
  • Bo Widerberg, Elvira Madigan, 1967, 35 mm, color, sound, 91 minutes, 1.66:1, Sweden.
  • Rouben Mamoulian, Applause, 1929, 35 mm, black-and-white, sound, 80 minutes, 1.20:1, USA.
  • King Vidor, Show People, 1928, 35 mm, black-and-white, silent/sound, 83 minutes, 1.20:1, USA.
  • Mark Donskoy, Serdtse materi, 1966, 35 mm, black-and-white, sound, 100 minutes, 2.35:1, USSR.
  • Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda, Loin du Vietnam, 1967, 16 mm, color and black-and-white, sound, 115 minutes, 1.37:1, France.

4th (1966): “An Exceptionally Personalized Point of View” 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 fourth 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 fourth edition of the festival in 1966, and features special guest Evan Morgan, critic and co-host of the Snakes & Funerals podcast.

0:00-12:09 – Opening
12:10-51:17 – Part One [Loves of a Blonde to Au hasard Balthazar]
51:18-1:33:20 – Part Two [Les Créatures to The Cheat]
1:33:21-2:16:45 – Part Three [The Shameless Old Lady to Shadows of Forgotten Ancestors]
2:16:46-3:08:35 – Part Four [Pearls of the Deep to The War Is Over]
3:08:36-3:15:54 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Evan Morgan (Snakes & Funerals)
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Roy Lichtenstein
  • Recorded May 6, 2018
  • Released May 20, 2018
  • Music (in order of appearance):
    • Loves of a Blonde (opening night)
    • Simon of the Desert (another favorite)
    • Au hasard Balthazar (favorite of the first section)
    • The Burmese Harp (favorite of the second section)
    • Shadows of Forgotten Ancestors (favorite of the third section)
    • Pierrot le fou (favorite of the fourth section)
    • The War Is Over (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director), Arthur Knight, Andrew Sarris
  • Location: Philharmonic Hall
  • Prices: 2 for terrace, 2.50 or 3 for orchestra, 3.50 or 4 for loge, with 1 added to all seats for opening night; subtract 0.50 for Do You Keep a Lion at Home? (children’s matinee screening)
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The War Game, Au hasard Balthazar, Meet Marlon Brando, The Cheat, Masculin féminin, Pierrot le fou
      • Seen for the podcast: All available; all rewatched except The War Game
      • Favorite films: Pierrot le fou, The War Game, Simon of the Desert, Au hasard Balthazar, Shadows of Forgotten Ancestors, The War Is Over
      • Least favorite films: Almost a Man, Pearls of the Deep
    • Dan
      • Seen before podcast watching period: Loves of a Blonde, Au hasard Balthazar, Masculin féminin, La Chienne*
      • Seen for the podcast: All available except The Shameless Old Lady; none rewatched
      • Favorite films: Pierrot le fou, Shadows of Forgotten Ancestors, Au hasard Balthazar, Masculin féminin, The War Is Over
      • Least favorite films: Almost a Man, La commare secca, The Hunt, Pearls of the Deep
      • Catch-Up Corner: Les Vampires (3rd)
    • Evan
      • Seen before podcast watching period: Au hasard Balthazar, The Burmese Harp, Masculin féminin, Simon of the Desert, La Chienne*, Pierrot le fou
      • Seen for the podcast: All available except Hunger, Accattone, La commare secca, Pearls of the Deep; none rewatched
      • Favorite films: Shadows of Forgotten Ancestors, Masculin féminin, The War Is Over
      • Least favorite films: Almost a Man, Intimate Lighting
  • Discoveries of the festival: Shadows of Forgotten Ancestors, The War Is Over, The Shameless Old Lady, Troublemakers, The Round-Up, Hunger
  • Unavailable films: The Eavesdropper, Do You Keep a Lion at Home?, Notes for a Film on Jazz, A Woman of Affairs

Main Slate

Opening Night: Loves of a Blonde [Lásky jedné plavovlásky] (1965, Milos Forman)
September 12, 9:00
Released 1966
The War Game (1965, Peter Watkins)
Also: Wholly Communion (1965, Peter Whitehead)
September 13, 6:30
Released 1967/Released 1967
Hunger [Sult] (1966, Henning Carlsen)
September 13, 9:30
Released 1968
Retrospective: La commare secca [The Skinny Gossip] (1962, Bernardo Bertolucci)
September 14, 6:30
Released 1982
The Eavesdropper [El ojo de la cerradura] (1966, Leopoldo Torre Nilsson)
September 14, 9:30
Never released
Au hasard Balthazar [Balthazar, by Chance] (1966, Robert Bresson)
September 15, 6:30
Released 1970
Les Créatures [The Creatures] (1966, Agnès Varda)
September 15, 9:30
Released 1969
The Hawks and the Sparrows [Uccellacci e uccellini] (1966, Pier Paolo Pasolini)
September 16, 6:30
Released 1967
Retrospective: Accattone (1961, Pier Paolo Pasolini)
September 16, 9:30
Released 1968
Children’s Show: Do You Keep a Lion at Home? [Máte doma lva?] (1963, Pavel Hobl)
September 17, 11:00
Released 1966
“The Scene”
Meet Marlon Brando (1966, Albert & David Maysles)
Notes for a Film on Jazz [Appunti per un film sul jazz] (1965, Gianni Amico)
Troublemakers (1966, Norman Fruchter & Robert Machover)
September 17, 1:30
Never released/Never released/Never released
Retrospective: The Burmese Harp [Biruma no tategoto] (1956, Kon Ichikawa)
September 17, 4:00
Released 1967
Retrospective: A Woman of Affairs (1928, Clarence Brown)
Also: The Cheat (1915, Cecil B. DeMille)
September 17, 6:30
Released 1928/Released 1919
The Shameless Old Lady [La Vieille dame indigne] (1965, René Allio)
September 17, 9:30
Released 1966
Intimate Lighting [Intimní osvětlení] (1965, Ivan Passer)
Also: Three [Tri] (1965, Aleksandar Petrovic)
September 18, 2:00
Released 1969/Released 1967
The Round-Up [Szegénylegények] (1966, Miklós Jancsó)
September 18, 6:30
Released 1969
Masculin féminin [Masculin féminin: 15 faits précis] (1966, Jean-Luc Godard)
September 18, 9:30
Released 1966
The Hunt [La caza] (1966, Carlos Saura)
September 19, 6:30
Released 1967
Shadows of Forgotten Ancestors [Tini zabutykh predkiv] (1965, Sergei Parajanov)
September 19, 9:30
Never released
Pearls of the Deep [Perličky na dně] (1966, Omnibus: Jiri Menzel, Jan Nemec, Evald Schorm, Vera Chytilová, Jaromil Jires)
September 20, 6:30
Never released
Simon of the Desert [Simón del desierto] (1965, Luis Buñuel)
Also: The Man Who Had His Hair Cut Short [De man die zijn haar kort liet knippen] (1966, André Delvaux)
September 20, 9:30
Released 1969/Released 1974
Canceled: La Chienne [The Bitch] (1931, Jean Renoir)
September 21, 6:30
Released 1976
Pierrot le fou [Pierrot the Madman] (1965, Jean-Luc Godard)
September 21, 9:30
Released 1969
Almost a Man [Un uomo a metà] (1966, Vittorio De Seta)
September 22, 6:30
Never released
“Closing Night”: The War Is Over [La Guerre est Finie] (1966, Alain Resnais)
September 22, 8:40
Released 1967

Ephemera

  • “The Independent Cinema”: 27 lectures, interviews, discussions with filmmakers and critics, screenings, covering various aspects of independent filmmaking in US coordinated by John Brockman 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: 2/2/5/8/1/3
  • Pier Paolo Pasolini: 1/2/1/3/0/1
  • Luis Buñuel: 1/1/4/4/1/1
  • Milos Forman: 1/1/2/2/1
  • Alain Resnais: 1/1/2/2/1
  • Robert Bresson: 1/1/2/2
  • Leopoldo Torre Nilsson: 1/1/2/2†(2/13/28)
  • René Allio: 1/1/1/1
  • Miklós Jancsó: 1/1/1/1
  • Sergei Paradjanov: 1/1/1/1
  • Ivan Passer: 1/1/1/1
  • Aleksandar Petrovic: 1/1/1/1
  • Carlos Saura: 1/1/1/1
  • Agnès Varda: 1/1/1/1
  • Peter Watkins: 1/1/1/1
  • Kon Ichikawa: 0/1/2/3/0/1
  • Bernardo Bertolucci: 0/1/1/2
  • Gianni Amico: 0/1/0/1
  • Vera Chytilová: 0/1/0/1
  • Cecil B. DeMille: 0/1/0/1
  • Jaromil Jires: 0/1/0/1
  • Albert & David Maysles: 0/1/0/1
  • Jirí Menzel: 0/1/0/1
  • Jan Nemec: 0/1/0/1
  • Jean Renoir: 0/1/0/1
  • Peter Whitehead: 0/1/0/1

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

  • France: 6/7/22/27/3
  • Czechoslovakia: 4/4/6/7/1
  • Italy: 2/5/11/15
  • USA: 1/4/10/17
  • UK: 1/2/3/5
  • Argentina: 1/1/3/3
  • Mexico: 1/1/2/2/1
  • USSR: 1/1/2/2/1
  • Denmark: 1/1/2/2
  • Hungary: 1/1/2/2
  • Belgium: 1/1/1/1
  • Spain: 1/1/1/1
  • Yugoslavia: 1/1/1/1
  • Japan: 0/1/8/9/1

One-Time Directors

  • Clarence Brown (retrospective)
  • Henning Carlsen
  • Vittorio De Seta
  • André Delvaux
  • Norman Fruchter & Robert Machover
  • Pavel Hobl
  • Evald Schorm (omnibus)

Feature Debuts

  • René Allio
  • Bernardo Bertolucci (retrospective)
  • André Delvaux (?)
  • Norman Fruchter & Robert Machover
  • Pavel Hobl
  • Ivan Passer
  • Pier Paolo Pasolini (retrospective)
  • Peter Whitehead (short)*

Festivals

  • Cannes
    • Hunger (Best Actor)
    • The Hawks and the Sparrows (Special Mention for Totò)
    • The Round-Up
  • Berlin
    • The Hunt (Silver Bear for Best Director)
    • Masculin féminin (Silver Bear for Best Actor, Youth Film Award, Interfilm Honorable Mention)
  • Venice
    • The Burmese Harp (1956, Special Mention)
    • Simon of the Desert (1965, Special Jury Prize)
    • Loves of a Blonde (1965)
    • Pierrot le fou (1965)
    • Au hasard Balthazar (OCIC)
    • Almost a Man (Volpi Cup for Best Actor)
    • The War Game (Special Prize, San Giorgio, OCIC Honorable Mention)
    • The Shameless Old Lady (Best First Film Prize) (?)
    • Les Créatures
  • Other
    • The Eavesdropper (Mar del Plata)
    • Intimate Lighting (San Sebastian)
    • Three (Karlovy Vary)
    • Pearls of the Deep (Locarno)
    • Shadows of Forgotten Ancestors (Mar del Plata, Grand Prix)
    • The Man Who Had His Hair Cut Short (Pesaro)
  • N/A
    • Wholly Communion
    • La commare secca
    • Accattone
    • Do You Keep a Lion at Home?
    • Meet Marlon Brando
    • Notes for a Film on Jazz
    • Troublemakers
    • A Woman of Affairs
    • The Cheat
    • La Chienne
    • The War Is Over

Oscar Nominees

  • The Burmese Harp: 1956 Best Foreign Film
  • The War Game: Best Documentary (won)
  • Loves of a Blonde: Best Foreign Film
  • Three: Best Foreign Film
  • The War Is Over: 1967 Best Original Screenplay

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 11:59 The War Is Over (2:56:36-3:08:35)
  • 10:35 Pearls of the Deep [Omnibus] (2:17:42-2:28:17)
  • 9:55 “The Scene” (1:12:23-1:22:18)
  • 8:51 Pierrot le fou (2:41:45-2:50:36)
  • 8:32 Les Créatures (52:07-1:00:39)
  • 8:09 The War Game (20:23-28:32)
  • 7:17 Loves of a Blonde (13:05-20:22)
  • 7:10 Shadows of Forgotten Ancestors (2:09:35-2:16:45)
  • 7:05 Masculin féminin (1:57:52-2:04:57)
  • 6:51 Au hasard Balthazar (44:26-51:17)
  • 6:50 The Round-Up (1:51:01-1:57:51)
  • 6:32 The Man Who Had His Hair Cut Short (2:34:36-2:41:08)
  • 6:17 Simon of the Desert (2:28:18-2:34:35)
  • 6:15 The Shameless Old Lady [Two People] (1:34:17-1:40:32)
  • 5:58 Almost a Man (2:50:37-2:56:35)
  • 5:54 Hunger [Two People] (33:23-39:17)
  • 5:39 The Hawks and the Sparrows (1:00:40-1:06:19)
  • 5:32 The Cheat (1:27:48-1:33:20)
  • 5:31 Three (1:45:29-1:51:00)
  • 4:55 Intimate Lighting (1:40:33-1:45:28)
  • 4:52 Accattone [Two People] (1:06:20-1:11:12)
  • 4:50 The Burmese Harp(1:22:19-1:27:09)
  • 4:49 Wholly Communion (28:33-33:22)
  • 4:36 The Hunt (2:04:58-2:09:34)
  • 3:46 La commare secca [Two People] (39:18-43:04)
  • 1:20 The Eavesdropper [Unavailable] (43:05-44:25)
  • 1:09 Do You Keep a Lion at Home? [Unavailable] (1:11:13-1:12:22)
  • 0:37 A Woman of Affairs [Unavailable] (1:27:10-1:27:47)
  • 0:35 La Chienne [Canceled] (2:41:09-2:41:44)

Specifications

  • Milos Forman, Lásky jedné plavovlásky, 1965, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, Czechoslovakia.
  • Peter Watkins, The War Game, 1965, 16 mm, black-and-white, sound, 48 minutes, 1.33:1, UK.
  • Peter Whitehead, Wholly Communion, 1965, 16 mm, black-and-white, sound, 33 minutes, 1.33:1, UK.
  • Henning Carlsen, Sult, 1966, 35 mm, black-and-white, sound, 112 minutes, 1.66:1, Denmark.
  • Bernardo Bertolucci, La commare secca, 1962, 35 mm, black-and-white, sound, 93 minutes, 1.66:1, Italy.
  • Leopoldo Torre Nilsson, El ojo de la cerradura, 1966, 35 mm, black-and-white, sound, 102 minutes, 1.37:1, Argentina. (?)
  • Robert Bresson, Au hasard Balthazar, 1966, 35 mm, black-and-white, sound, 95 minutes, 1.66:1, France.
  • Agnès Varda, Les Créatures, 1966, 35 mm, black-and-white, sound, 92 minutes, 2.35:1, France.
  • Pier Paolo Pasolini, Uccellacci e uccellini, 1966, 35 mm, black-and-white, sound, 89 minutes, 1.85:1, Italy.
  • Pier Paolo Pasolini, Accattone, 1961, 35 mm, black-and-white, sound, 117 minutes, 1.37:1, Italy.
  • Pavel Hobl, Máte doma lva?, 1964, 35 mm, color and black-and-white, sound, 81 minutes, 1.37:1, Czechoslovakia. (?)
  • Albert & David Maysles, Meet Marlon Brando, 1966, 16 mm, black-and-white, sound, 28 minutes, 1.33:1, USA.
  • Gianni Amico, Appunti per un film sul jazz, 1965, 16 mm, black-and-white, sound, 35 minutes, 1.33:1, Italy.
  • Norman Fruchter & Robert Machover, Troublemakers, 1966, 16 mm, black-and-white, sound, 54 minutes, 1.33:1, USA.
  • Kon Ichikawa, Biruma no tategoto, 1956, 35 mm, black-and-white, sound, 116 minutes, 1.37:1, Japan.
  • Clarence Brown, A Woman of Affairs, 1928, 35 mm, black-and-white, silent, 92 minutes, 1.33:1, USA.
  • Cecil B. DeMille, The Cheat, 1915, 35 mm, black-and-white, silent, 59 minutes, 1.33:1, USA.
  • René Allio, La Vieille dame indigne, 1965, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, France.
  • Ivan Passer, Intimní osvětlení, 1965, 35 mm, black-and-white, sound, 71 minutes, 1.37:1, Czechoslovakia.
  • Aleksandar Petrovic, Tri, 1965, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, Yugoslavia.
  • Miklós Jancsó, Szegénylegények, 1966, 35 mm, black-and-white, sound, 95 minutes, 2.35:1, Hungary.
  • Jean-Luc Godard, Masculin féminin: 15 faits précis, 1966, 35 mm, black-and-white, sound, 103 minutes, 1.37:1, France.
  • Carlos Saura, La caza, 1966, 35 mm, black-and-white, sound, 91 minutes, 1.66:1, Spain.
  • Sergei Parajanov, Tini zabutykh predkiv, 1965, 35 mm, color, sound, 97 minutes, 1.37:1, USSR.
  • Jiri Menzel/Jan Nemec/Evald Schorm/Vera Chytilová/Jaromil Jires, Perličky na dně, 1966, 35 mm, black-and-white and color, sound, 105 minutes, 1.37:1, Czechoslovakia.
  • Luis Buñuel, Simón del desierto, 1965, 35 mm, black-and-white, sound, 45 minutes, 1.37:1, Mexico.
  • André Delvaux, De man die zijn haar kort liet knippen, 1966, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, Belgium.
  • Jean Renoir, La Chienne, 1931, 35 mm, black-and-white, sound, 91 minutes, 1.20:1, France.
  • Jean-Luc Godard, Pierrot le fou, 1965, 35 mm, color, sound, 110 minutes, 2.35:1, France.
  • Vittorio De Seta, Un uomo a metà, 1966, 35 mm, black-and-white, sound, 93 minutes, 1.85:1, Italy.
  • Alain Resnais, La Guerre est Finie, 1966, 35 mm, black-and-white, sound, 121 minutes, 1.66:1, France.