12th (1974): “A World Phenomenon” Show Notes

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

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Description
The twelfth 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 twelfth edition of the festival in 1974, and features special guest Jason Miller, New York cinephile and kind of a Twitter guy.

0:00-23:16 – Opening
23:17-1:23:06 – Part One [Don’t Cry With Your Full to Lancelot du Lac]
1:23:07-3:04:18 – Part Two [Part-Time Work of a Domestic Slave to Out 1: Spectre]
3:04:19-4:03:18 – Part Three [The Middle of the World to Céline and Julie Go Boating]
4:03:19-5:08:57 – Part Four [Alice in the Cities to The Phantom of Liberty]
5:08:58-5:13:31 – Closing

Corrections/Clarifications

  • Kristen Yoonsoo Kim’s name was misspoken as Kristen Soonyoo Kim.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Jason Miller
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles and New York City on Zoom H4N and Sennheiser Microphones and MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Jean Tinguely
  • Recorded February 25, 2019
  • Released
  • Music (in order of appearance):
    • Don’t Cry With Your Mouth Full (opening night)
    • Stavisky… (another favorite)
    • Lancelot du Lac (favorite of the first section)
    • Out 1: Spectre (favorite of the second section)
    • Céline and Julie Go Boating (favorite of the third section)
    • A Woman Under the Influence (favorite of the fourth section)
    • The Phantom of Liberty (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: Alice Tully Hall and Avery Fisher Hall
  • Prices: 2, 2.50, 3.50, 5; for opening and closing night 4, 5, 7, 10
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Ali: Fear Eats the Soul, L’Age d’Or*, The Exterminating Angel*, The Discreet Charm of the Bourgeoisie*, A Woman Under the Influence
      • Seen for the podcast: All available except The Milky Way; Ali: Fear Eats the Soul, A Woman Under the Influence rewatched
      • Favorite films: Céline and Julie Go Boating, Out 1: Spectre, Lancelot du Lac, Ali: Fear Eats the Soul, Stavisky…, The Discreet Charm of the Bourgeoisie, A Woman Under the Influence
      • Least favorite films: Old-Fashioned Woman
    • Dan
      • Seen before podcast watching period: Lancelot du Lac, Ali: Fear Eats the Soul, Céline and Julie Go Boating, Alice in the Cities, L’Age d’Or*, The Exterminating Angel*, The Discreet Charm of the Bourgeoisie*, A Woman Under the Influence, The Phantom of Liberty
      • Seen for the podcast: All available except The Night of the Scarecrow, Lacombe Lucien, The Middle of the World, La Paloma; Alice in the Cities rewatched
      • Favorite films: Ali: Fear Eats the Soul, Céline and Julie Go Boating, A Woman Under the Influence, Lancelot du Lac, Stavisky…, Out 1: Spectre, From These Roots
      • Least favorite films: Part Time Work of a Domestic Slave, A Bigger Splash
    • Jason
      • Seen before podcast watching period: Lancelot du Lac, Italianamerican, Ali: Fear Eats the Soul, Les Enfants Terribles, Alice in the Cities, L’Age d’Or, The Exterminating Angel, The Milky Way, The Discreet Charm of the Bourgeoisie, A Woman Under the Influence, The Phantom of Liberty
      • Seen for the podcast: All available except The Night of the Scarecrow, Lacombe Lucien, The Middle of the World, La Paloma; Lancelot du Lac, Italianamerican, Ali: Fear Eats the Soul, The Milky Way, A Woman Under the Influence rewatched
      • Favorite films: Céline and Julie Go Boating, Lancelot du Lac, Out 1: Spectre, A Woman Under the Influence, The Exterminating Angel, The Phantom of Liberty, L’Age d’Or, The Discreet Charm of the Bourgeoisie, Ali: Fear Eats the Soul
      • Least favorite films: Part-Time Work of a Domestic Slave, Old-Fashioned Woman
  • Discoveries of the festival: From These Roots, The Night of the Scarecrow, La Paloma, Stavisky…, A Bigger Splash, the Middle of the World
  • Unavailable films: Don’t Cry With Your Mouth Full, The Bench of Desolation, Rome Wants Another Caesar, Yudie, The Circumstance

Main Slate

Opening Night: Don’t Cry With Your Mouth Full [Pleure pas la bouche pleine!] (1973, Pascal Thomas)
September 27, 9:00 {Avery Fisher Hall}
Released 1975
Retrospective: Liebelei [Flirtation] (1933, Max Ophuls)
September 28, 3:00
Released 1933
The Night of the Scarecrow [A Noite do Espantalho] (1974, Sérgio Ricardo)
September 28, 6:00
Never released
Lacombe Lucien (1974, Louis Malle)
September 28, 9:00
Released 1974
Stavisky… (1974, Alain Resnais)
September 29, 9:30
Released 1974
Lancelot du Lac [Lancelot of the Lake] (1974, Robert Bresson)
September 30, 9:30
Released 1975
Part-Time Work of a Domestic Slave [Gelegenheitsarbeit einer Sklavin] (1973, Alexander Kluge)
Also: The Bench of Desolation [Le banc de la désolation] (1974, Claude Chabrol)
October 1, 6:15
Never released/Never released
Rome Wants Another Caesar [Rome rivuole Cesare] (1974, Miklós Jancsó)
October 1, 9:30
Never released
“Roots”
Yudie (1974, Mirra Bank)
Old-Fashioned Woman (1974, Martha Coolidge)
From These Roots (1974, William Greaves)
Italianamerican (1974, Martin Scorsese)
October 3, 6:15
Never released/Released 1974/Never released/Released 1978
A Bigger Splash (1973, Jack Hazan)
October 3, 9:30
Released 1984
Out 1: Spectre (1972, Jacques Rivette)
October 5, 1:00
Never released
The Middle of the World [Le Milieu du monde] (1974, Alain Tanner)
October 5, 6:15
Released 1975
Ali: Fear Eats the Soul [Angst essen Seele auf/Fear Eat Soul Up] (1974, Rainer Werner Fassbinder)
October 5, 9:30
Released 1974
Retrospective: Les Enfants Terribles [The Terrible Children] (1950, Jean-Pierre Melville)
October 7, 6:15
Released 1952
Céline and Julie Go Boating [Céline et Julie vont en bateau] (1974, Jacques Rivette)
October 7, 8:45
Released 1978
Alice in the Cities [Alice in den Städten] (1974, Wim Wenders)
October 8, 6:15
Released 1977
La Paloma [The Dove] (1974, Daniel Schmid)
October 8, 9:30
Released 1992
The Circumstance [La Circostanza] (1973, Ermanno Olmi)
October 10, 9:30
Never released
Retrospective: Homage to Buñuel
L’Age d’Or [The Golden Age] (1930, Luis Buñuel)
The Exterminating Angel [El ángel exterminador] (1962, Luis Buñuel)
The Milky Way [La Voie lactée] (1969, Luis Buñuel)
The Discreet Charm of the Bourgeoisie [Le Charme discret de la bourgeoisie] (1972, Luis Buñuel)
October 12, 11:00
Released 1980/Released 1967/Released 1970/Released 1972
A Woman Under the Influence (1974, John Cassavetes)
October 12, 6:00
Released 1974
Closing Night: The Phantom of Liberty [Le Fantôme de la liberté] (1974, Luis Buñuel)
October 13, 9:00 {Avery Fisher Hall}
Released 1974

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

  • Jacques Rivette: 2/2/4/4/0/1
  • Luis Buñuel: 1/5/7/11/1/3
  • Robert Bresson: 1/1/6/6
  • Alain Resnais: 1/1/5/5/2
  • Claude Chabrol: 1/1/5/5/0/1
  • Ermanno Olmi: 1/1/5/5
  • Rainer Werner Fassbinder: 1/1/4/4
  • Miklós Jancsó: 1/1/4/4
  • Alexander Kluge: 1/1/3/3
  • Martin Scorsese: 1/1/3/3
  • Louis Malle: 1/1/2/2/1
  • John Cassavetes: 1/1/2/2
  • Alain Tanner: 1/1/1/1
  • Wim Wenders: 1/1/1/1
  • Jean-Pierre Melville: 0/1/1/2
  • Max Ophuls: 0/1/0/3

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: 8/12/75/90/10
  • USA: 3/5/35/48/2
  • West Germany: 3/3/15/16
  • Italy: 2/2/29/33
  • Switzerland: 2/2/2/2
  • UK: 1/1/17/19/1
  • Brazil: 1/1/3/3
  • Germany: 0/1/0/2
  • Mexico: 0/1/2/3/1

One-Time Directors

  • Mirra Bank (short)
  • Martha Coolidge
  • William Greaves (short)
  • Jack Hazan
  • Sérgio Ricardo
  • Daniel Schmid
  • Pascal Thomas (gala)

Feature Debuts

  • Jack Hazan

Festivals

  • NYFF World Premiere
    • A Woman Under the Influence
  • Cannes
    • The Exterminating Angel (1962, FIPRESCI)
    • Stavisky… (Best Actor)
    • Ali: Fear Eats the Soul (FIPRESCI)
    • Lancelot du Lac (Out of Competition, FIPRESCI)
    • A Bigger Splash (Critics’ Week; also Locarno International Jury Second Prize)
    • La Paloma (Critics’ Week)
    • Céline and Julie Go Boating (Directors’ Fortnight; also Locarno International Jury Prize)
    • The Night of the Scarecrow (Directors’ Fortnight)
    • Part-Time Work of a Domestic Slave (Directors’ Fortnight)
  • Berlin
    • Out 1: Spectre (1973?)
    • Alice in the Cities (?)
  • Other
    • The Circumstance (Locarno, FIPRESCI)
    • The Middle of the World (Locarno)
  • N/A
    • L’Age d’Or
    • The Bench of Desolation
    • The Discreet Charm of the Bourgeoisie
    • Don’t Cry With Your Mouth Full
    • Les Enfants Terribles
    • From These Roots
    • Italianamerican
    • Lacombe Lucien
    • Liebelei
    • The Milky Way
    • Old-Fashioned Woman
    • The Phantom of Liberty
    • Rome Wants Another Caesar
    • Yudie

Oscar Nominees

  • A Woman Under the Influence: Best Director, Best Actress

Shorts

shorts

Discussions By Length (Approximate)

  • 41:21 Out 1: Spectre (2:22:57-3:04:18)
  • 29:52 “Roots” (1:41:49-2:11:41)
  • 22:05 Céline and Julie Go Boating (3:41:13-4:03:18)
  • 20:37 “Homage to Buñuel” (4:24:38-4:45:15)
  • 17:58 Lancelot du Lac (1:05:08-1:23:06)
  • 17:50 Ali: Fear Eats the Soul (3:14:50-3:32:40)
  • 17:04 A Woman Under the Influence (4:45:16-5:02:20)
  • 14:52 Part-Time Work of a Domestic Slave (1:24:06-1:38:58)
  • 13:54 Stavisky… (51:13-1:05:07)
  • 12:50 Liebelei (25:25-38:15)
  • 12:38 Alice in the Cities (4:04:20-4:16:58)
  • 11:14 A Bigger Splash (2:11:42-2:22:56)
  • 9:27 The Middle of the World [One Person] (3:05:22-3:14:49)
  • 8:31 Les Enfants Terribles (3:32:41-3:41:12)
  • 7:53 Lacombe Lucien [One Person] (43:19-51:12)
  • 6:36 The Phantom of Liberty (5:02:21-5:08:57)
  • 6:22 La Paloma [One Person] (4:16:59-4:23:21)
  • 5:02 The Night of the Scarecrow [One Person] (38:16-43:18)
  • 1:40 Rome Wants Another Caesar [Unavailable] (1:40:08-1:41:48)
  • 1:15 The Circumstance [Unavailable] (4:23:22-4:24:37)
  • 1:08 Don’t Cry With Your Mouth Full [Unavailable] (24:16-25:24)
  • 1:08 The Bench of Desolation [Unavailable] (1:38:59-1:40:07)

Specifications

  • Pascal Thomas, Pleure pas la bouche pleine!, 1973, 35 mm, color, mono sound, 116 minutes, 1.66:1, French, France.
  • Max Ophuls, Liebelei, 1933, 35 mm, black-and-white, mono sound, 88 minutes, 1.20:1, German, Germany.
  • Sérgio Ricardo, A Noite do Espantalho, 1974, 35 mm, color, mono sound, 92 minutes, 1.37:1, Portuguese, Brazil.
  • Louis Malle, Lacombe Lucien, 1974, 35 mm, color, mono sound, 138 minutes, 1.66:1, French, France.
  • Alain Resnais, Stavisky…, 1974, 35 mm, color, mono sound, 120 minutes, 1.66:1, French, France.
  • Robert Bresson, Lancelot du Lac, 1974, 35 mm, color, mono sound, 85 minutes, 1.66:1, French, France.
  • Alexander Kluge, Gelegenheitsarbeit einer Sklavin, 1973, 35 mm, black-and-white, mono sound, 91 minutes, 1.37:1, German, West Germany.
  • Claude Chabrol, Le banc de la désolation, 1974, 35 mm, color, mono sound, 52 minutes, 1.37:1, French, France.
  • Miklós Jancsó, Rome rivuole Cesare, 1974, 35 mm, color, mono sound, 78 minutes, 1.37:1, Italian, Italy.
  • Mirra Bank, Yudie, 1974, 16 mm, color, mono sound, 20 minutes, 1.37:1, English, USA.
  • Martha Coolidge, Old-Fashioned Woman, 1974, 16 mm, color, mono sound, 49 minutes, 1.37:1, English, USA.
  • William Greaves, From These Roots, 1974, 16 mm, black-and-white, mono sound, 31 minutes, 1.37:1, English, USA.
  • Martin Scorsese, Italianamerican, 1974, 16 mm, color, mono sound, 49 minutes, 1.37:1, English, USA.
  • Jack Hazan, A Bigger Splash, 1973, 35 mm, color, mono sound, 106 minutes, 1.66:1, English, UK.
  • Jacques Rivette, Out 1: Spectre, 1972, 16 mm, color, mono sound, 253 minutes, 1.37:1, French, France.
  • Alain Tanner, Le Milieu du monde, 1974, 35 mm, color, mono sound, 115 minutes, 1.37:1, French, Switzerland.
  • Rainer Werner Fassbinder, Angst essen Seele auf, 1974, 35 mm, color, mono sound, 92 minutes, 1.37:1, German, West Germany.
  • Jean-Pierre Melville, Les Enfants Terribles, 1950, 35 mm, black-and-white, mono sound, 105 minutes, 1.37:1, French, France.
  • Jacques Rivette, Céline et Julie vont en bateau, 1974, 16 mm, color, mono sound, 193 minutes, 1.37:1, French, France.
  • Wim Wenders, Alice in den Städten, 1974, 16 mm, black-and-white, mono sound, 110 minutes, 1.66:1, German, West Germany.
  • Daniel Schmid, La Paloma, 1974, 35 mm, color, mono sound, 110 minutes, 1.37:1, German, Switzerland.
  • Ermanno Olmi, La Circostanza, 1973, 35 mm, color, mono sound, 97 minutes, 1.37:1, Italian, Italy.
  • Luis Buñuel, L’Age d’Or, 1930, 35 mm, black-and-white, mono sound, 63 minutes, 1.20:1, French, France.
  • Luis Buñuel, El ángel exterminador, 1962, 35 mm, black-and-white, mono sound, 95 minutes, 1.37:1, Spanish, Mexico.
  • Luis Buñuel, La Voie lactée, 1969, 35 mm, color, mono sound, 102 minutes, 1.66:1, French, France.
  • Luis Buñuel, Le Charme discret de la bourgeoisie, 1972, 35 mm, color, mono sound, 102 minutes, 1.66:1, French, France.
  • John Cassavetes, A Woman Under the Influence, 1974, 35 mm, color, mono sound, 155 minutes, 1.85:1, English, USA.
  • Luis Buñuel, Le Fantôme de la liberté, 1974, 35 mm, color, mono sound, 104 minutes, 1.66:1, French, France.

11th (1973): “Trains in the Night” Show Notes

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

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

Description
The eleventh 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 eleventh edition of the festival in 1973.

0:00-1:19:01 – Introduction [2018 Top Tens]
1:19:02-1:37:58 – Opening
1:37:59-2:18:45 – Part One [Day for Night to Réjeanne Padovani]
2:18:46-3:18:08 – Part Two [A Doll’s House to Land of Silence and Darkness]
3:18:09-4:14:49 – Part Three [Just Before Nightfall to Badlands]
4:14:50-4:20:34 – Closing

Corrections/Clarifications

  • Unlike the past ten episodes, this episode’s title comes from a quote in Day for Night, due to a lack of satisfactory headlines in the New York Times‘s coverage.

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 Niki de Saint Phalle
  • Recorded January 27, 2019
  • Released January 31, 2019
  • Music (in order of appearance):
    • Day for Night (opening night)
    • The Bitter Tears of Petra von Kant (another favorite)
    • La Rupture (another favorite)
    • History Lessons (favorite of the first section)
    • The Mother and the Whore (favorite of the second section)
    • Dr. Mabuse, the Gambler (favorite of the third section)
    • Badlands (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: Alice Tully Hall and Philharmonic 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: Badlands
      • Seen for the podcast: All available; Badlands rewatched
      • Favorite films: The Mother and the Whore; Dr. Mabuse, the Gambler; The Bitter Tears of Petra von Kant; Badlands; La Rupture; Just Before Nightfall; Mean Streets; Day for Night; History Lessons
      • Least favorite films: Réjeanne Padovani
      • Catch-Up Corner: The Assassination of Trotsky (10th)
    • Dan
      • Seen before podcast watching period: Day for Night; Mean Streets; La Rupture; The Bitter Tears of Petra von Kant; Dr. Mabuse, the Gambler; Badlands
      • Seen for the podcast: All available except The Illumination; Israel, Why; Just Before Nightfall; Andrei Rublev; Badlands rewatched
      • Favorite films: The Mother and the Whore, Mean Streets, Day for Night, History Lessons, Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene”
      • Least favorite films: Réjeanne Padovani, Kid Blue, La Rupture, A Doll’s House
  • Discoveries of the festival: The Mother and the Whore
  • Unavailable films: Ritorno

Main Slate

Opening Night: Day for Night [La Nuit américaine/The American Night] (1973, François Truffaut)
September 28, 9:00 {Philharmonic Hall}
Released 1973
Ritorno [Return] (1973, Gianni Amico)
September 29, 4:00
Never released
The Illumination [Iluminacja] (1973, Krzysztof Zanussi)
September 29, 6:30
Never released
Kid Blue (1973, James Frawley)
September 29, 9:30
Released 1973
History Lessons [Geschichtsunterricht] (1972, Jean-Marie Straub & Danièle Huillet)
Also: Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene” [Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene] (1973, Jean-Marie Straub & Danièle Huillet)
September 30, 4:00
Never released/Released 1976
Réjeanne Padovani (1973, Denys Arcand)
October 1, 6:15
Never released
A Doll’s House (1973, Joseph Losey)
October 1, 9:30
Released 1978
Mean Streets (1973, Martin Scorsese)
October 2, 9:30
Released 1973
La Rupture [The Breach] (1970, Claude Chabrol)
October 4, 6:15
Released 1975
The Mother and the Whore [La Maman et la Putain] (1973, Jean Eustache)
October 5, 6:15
Released 1974
Israel, Why [Pourquoi Israël] (1973, Claude Lanzmann)
October 7, 5:00
Never released
Land of Silence and Darkness [Land des Schweigens und der Dunkelheit] (1971, Werner Herzog)
October 8, 6:15
Released 1981
Just Before Nightfall [Juste avant la nuit] (1971, Claude Chabrol)
October 8, 9:30
Released 1975
Andrei Rublev (1966, Andrei Tarkovsky)
October 9, 9:30
Released 1992
Distant Thunder [Ashani Sanket/Impending Disaster] (1973, Satyajit Ray)
October 11, 6:15
Released 1975
The Bitter Tears of Petra von Kant [Die bitteren Tränen der Petra von Kant] (1972, Rainer Werner Fassbinder)
October 11, 9:30
Released 1976
Retrospective: Dr. Mabuse, the Gambler [Dr. Mabuse, der Spieler] (1922, Fritz Lang)
October 13, 1:00
Released 1927
Closing Night: Badlands (1973, Terrence Malick)
October 13, 7:00
Released 1974

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

  • Claude Chabrol: 2/2/4/4/0/1
  • Jean-Marie Straub & Danièle Huillet: 1/2/4/5/0/1
  • Werner Herzog: 1/1/4/4
  • Joseph Losey: 1/1/4/4
  • Satyajit Ray: 1/1/5/5/1
  • François Truffaut: 1/1/3/3/2
  • Rainer Werner Fassbinder: 1/1/3/3
  • Krzysztof Zanussi: 1/1/3/3
  • Gianni Amico: 1/1/2/3
  • Martin Scorsese: 1/1/2/2
  • Denys Arcand: 1/1/1/1
  • Claude Lanzmann: 1/1/1/1
  • Andrei Tarkovsky: 1/1/1/1
  • Fritz Lang: 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: 5/5/67/78/8
  • USA: 3/3/32/43/2
  • West Germany: 2/3/12/13
  • Italy: 2/2/27/31/2
  • UK: 1/1/16/18/1
  • Poland: 1/1/9/9
  • USSR: 1/1/5/5/2
  • India: 1/1/5/5/1
  • Canada: 1/1/4/5
  • Germany: 0/1/0/1

One-Time Directors

  • Jean Eustache
  • James Frawley
  • Terrence Malick (gala)

Feature Debuts

  • Claude Lanzmann
  • Terrence Malick

Festivals

  • NYFF World Premiere
    • Badlands
    • Mean Streets
  • Cannes
    • The Mother and the Whore (Grand Prix)
    • Land of Silence and Darkness (1972 Directors’ Fortnight)
    • History Lessons (Directors’ Fortnight)
    • Réjeanne Padovani (Directors’ Fortnight)
    • Andrei Rublev (1969 Out of Competition)
    • Day for Night (Out of Competition)
    • A Doll’s House (Out of Competition)
  • Berlin
    • The Bitter Tears of Petra von Kant (1972)
    • Distant Thunder (Golden Bear)
  • Other
    • The Illumination (Locarno, Golden Leopard)
    • Just Before Nightfall
    • La Rupture
  • N/A
    • Dr. Mabuse, the Gambler
    • Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene”
    • Israel, Why
    • Kid Blue
    • Ritorno

Oscar Nominees

  • Day for Night: Best Foreign Film (winner), 1974 Best Director, Best Original Screenplay, Best Supporting Actress

Shorts

shorts

Discussions By Length (Approximate)

  • 20:00 The Mother and the Whore (2:47:15-3:07:15)
  • 12:19 Badlands (4:02:30-4:14:49)
  • 11:13 Day for Night (1:39:01-1:50:14)
  • 10:50 Dr. Mabuse, the Gambler (3:51:39-4:02:29)
  • 10:24 The Bitter Tears of Petra von Kant (3:41:14-3:51:38)
  • 10:16 Mean Streets (2:28:40-2:38:56)
  • 9:45 Andrei Rublev [One Person] (3:26:58-3:36:43)
  • 8:56 A Doll’s House (2:19:43-2:28:39)
  • 8:17 La Rupture (2:38:57-2:47:14)
  • 7:45 Just Before Nightfall [One Person] (3:19:12-3:26:57)
  • 7:21 History Lessons (2:02:17-2:09:38)
  • 6:29 Kid Blue (1:55:47-2:02:16)
  • 6:17 Israel, Why [One Person] (3:07:16-3:13:33)
  • 4:47 Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene” (2:09:39-2:14:26)
  • 4:34 Land of Silence and Darkness (3:13:34-3:18:08)
  • 4:29 Distant Thunder (3:36:44-3:41:13)
  • 4:18 Réjeanne Padovani (2:14:27-2:18:45)
  • 4:03 The Illumination [One Person] (1:51:43-1:55:46)
  • 1:27 Ritorno [Unavailable] (1:50:15-1:51:42)

Specifications

  • François Truffaut, La Nuit américaine, 1973, 35 mm, color and black-and-white, mono sound, 116 minutes, 1.66:1, French, France.
  • Gianni Amico, Ritorno, 1973, 35 mm, color, mono sound, 85 minutes, 1.37:1, Italian, Italy.
  • Krzysztof Zanussi, Iluminacja, 1973, 35 mm and 16 mm, color, mono sound, 91 minutes, 1.66:1, Polish, Poland.
  • James Frawley, Kid Blue, 1973, 35 mm, color, mono sound, 100 minutes, 2.39:1, English, USA.
  • Jean-Marie Straub & Danièle Huillet, Geschichtsunterricht, 1972, 16 mm, color, mono sound, 85 minutes, 1.37:1, German, Italy.
  • Jean-Marie Straub & Danièle Huillet, Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene, 1973, 16 mm, color and black-and-white, mono sound, 15 minutes, 1.37:1, German, West Germany.
  • Denys Arcand, Réjeanne Padovani, 1973, 35 mm, color, mono sound, 96 minutes, 1.85:1, French, Canada.
  • Joseph Losey, A Doll’s House, 1973, 35 mm, color, mono sound, 106 minutes, 1.66:1, English, UK.
  • Martin Scorsese, Mean Streets, 1973, 35 mm, color, mono sound, 112 minutes, 1.85:1, English and Italian, USA.
  • Claude Chabrol, La Rupture, 1970, 35 mm, color, mono sound, 124 minutes, 1.66:1, French, France.
  • Jean Eustache, La Maman et la Putain, 1973, 16 mm, black-and-white, mono sound, 217 minutes, 1.37:1, French, France.
  • Claude Lanzmann, Pourquoi Israël, 1973, 16 mm, color, mono sound, 185 minutes, 1.37:1, French and English and Hebrew and German and Russian, France.
  • Werner Herzog, Land des Schweigens und der Dunkelheit, 1971, 16 mm, color, mono sound, 85 minutes, 1.37:1, German, West Germany.
  • Claude Chabrol, Juste avant la nuit, 1971, 35 mm, color, mono sound, 106 minutes, 1.66:1, French, France.
  • Andrei Tarkovsky, Andrei Rublev, 1966, 35 mm, black-and-white and color, mono sound, 183 minutes, 2.35:1, Russian, USSR.
  • Satyajit Ray, Ashani Sanket, 1973, 35 mm, color, mono sound, 101 minutes, 1.37:1, Bengali, India.
  • Rainer Werner Fassbinder, Die bitteren Tränen der Petra von Kant, 1972, 35 mm, color, mono sound, 124 minutes, 1.37:1, German, West Germany.
  • Fritz Lang, Dr. Mabuse, der Spieler, 1922, 35 mm, black-and-white, silent, 242 minutes, 1.33:1, German, Germany.
  • Terrence Malick, Badlands, 1973, 35 mm, color, mono sound, 94 minutes, 1.85:1, English, USA.

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

poster

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, mono sound, 97 minutes, 1.37:1, French, France.
  • Károly Makk, Szerelem, 1971, 35 mm, black-and-white, mono sound, 88 minutes, 1.85:1, Hungarian, Hungary.
  • Maurice Pialat, Nous ne vieillirons pas ensemble, 1972, 35 mm, color, mono sound, 110 minutes, 1.66:1, French, France.
  • Hiroshi Teshigahara, Samâ sorujâ, 1972, 35 mm, color, mono sound, 107 minutes, 1.37:1, Japanese and English, Japan.
  • Miklós Jancsó, Még kér a nép, 1972, 35 mm, color, mono sound, 87 minutes, 1.37:1, Hungarian, Hungary.
  • Krzysztof Zanussi, Za sciana, 1971, 35 mm, black-and-white, mono sound, 56 minutes, 1.37:1, Polish, Poland.
  • Marcel Ophuls, A Sense of Loss, 1972, 16 mm, color, mono sound, 135 minutes, 1.37:1, English, UK.
  • Ken Loach, Family Life, 1971, 35 mm, color, mono sound, 108 minutes, 1.37:1, English, UK.
  • Jonas Mekas, Reminiscences of a Journey to Lithuania, 1972, 16 mm, color and black-and-white, mono sound, 88 minutes, 1.37:1, English, USA.
  • Adolfas Mekas, Going Home, 1972, 16 mm, color, mono sound, 61 minutes. 1.37:1, English, USA.
  • Paul Morrissey, Heat, 1972, 16 mm, color, mono sound, 102 minutes, 1.37:1, English, USA.
  • Philippe Garrel, La cicatrice intérieure, 1972, 35 mm, color, mono sound, 60 minutes, 1.66:1, French and English and German, France.
  • Marguerite Duras, Nathalie Granger, 1972, 35 mm, black-and-white, mono sound, 83 minutes, 1.66:1, French, France.
  • Satyajit Ray, Pratidwandi, 1970, 35 mm, black-and-white, mono sound, 110 minutes, 1.37:1, Bengali, India.
  • Robert Benton, Bad Company, 1972, 35 mm, color, mono sound, 93 minutes, 1.85:1, English, USA.
  • Rainer Werner Fassbinder, Händler der vier Jahreszeiten, 1971, 35 mm, color, mono sound, 88 minutes, 1.37:1, German, West Germany.
  • Robert Altman, Images, 1972, 35 mm, color, stereo sound, 104 minutes, 2.39:1, English, UK.
  • Jacques Rivette, L’Amour fou, 1969, 35 mm and 16 mm, black-and-white, mono sound, 252 minutes, 1.85:1, French, France.
  • Jean-Luc Godard & Jean-Pierre Gorin, Tout va bien, 1972, 35 mm, color, mono sound, 95 minutes, 1.66:1, French and English, France.
  • François Truffaut, Les Deux Anglaises et le Continent, 1971, 35 mm, color, mono sound, 130 minutes, 1.66:1, French and English, France.
  • Bob Rafelson, The King of Marvin Gardens, 1972, 35 mm, color, mono sound, 103 minutes, 1.85:1, English, USA.
  • Joseph Losey, The Assassination of Trotsky, 1972, 35 mm, color, mono sound, 103 minutes, 1.85:1, English, UK.
  • Luis Buñuel, Le Charme discret de la bourgeoisie, 1972, 35 mm, color, mono sound, 102 minutes, 1.66:1, French, France.
  • Bernardo Bertolucci, Ultimo tango a Parigi, 1972, 35 mm, color, mono sound, 129 minutes, 1.85:1, English and French, 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, mono sound, 91 minutes, 2.39:1, Russian, USSR.
  • Krzysztof Zanussi, Życie rodzinne, 1971, 35 mm, color, mono sound, 88 minutes, 1.66:1, Polish, Poland.
  • Peter Bogdanovich, The Last Picture Show, 1971, 35 mm, black-and-white, mono sound, 126 minutes, 1.85:1, English, USA.
  • Ermanno Olmi, Durante l’estate, 1971, 35 mm, color, mono sound, 105 minutes, 1.37:1, Italian, Italy.
  • Pier Paolo Pasolini, Il Decameron, 1971, 35 mm, color, mono sound, 111 minutes, 1.85:1, Italian, Italy.
  • Akira Kurosawa, Dodesukaden, 1970, 35 mm, color, mono sound, 140 minutes, 1.37:1, Japanese, Japan.
  • Peter Bogdanovich, Directed by John Ford, 1971, 35 mm, color, mono sound, 99 minutes, 1.37:1, English, USA.
  • Werner Herzog, Fata Morgana, 1971, 35 mm, color, mono sound, 79 minutes, 1.37:1, German, West Germany.
  • Robert Bresson, Quatre nuits d’un rêveur, 1971, 35 mm, color, mono sound, 87 minutes, 1.66:1, French, France.
  • Rainer Werner Fassbinder, Pioniere in Ingolstadt, 1971, 35 mm, color, mono sound, 84 minutes, 1.37:1, German, West Germany.
  • Ivan Passer, Born to Win, 1971, 35 mm, color, mono sound, 88 minutes, 1.85:1, English, USA.
  • Marcel Ophuls, Le Chagrin et la Pitié, 1969, 16 mm, black-and-white, mono sound, 251 minutes, 1.66:1, French and German, France.
  • Peter Watkins, Punishment Park, 1971, 16 mm, color, mono sound, 91 minutes, 1.37:1, English, USA.
  • Marco Bellocchio, Nel nome del padre, 1971, 35 mm, color, mono sound, 115 minutes, 1.85:1, Italian, Italy.
  • Dusan Makavejev, W.R. – Misterije organizma, 1971, 16 mm and 35 mm, color and black-and-white, mono sound, 84 minutes, 1.37:1, Serbo-Croatian and English, Yugoslavia.
  • Abel Gance, Bonaparte et la Révolution, 1971, 35 mm, black-and-white, mono sound, 275 minutes, 1.37:1, French, France.
  • Henry Jaglom, A Safe Place, 1971, 35 mm, color, mono sound, 94 minutes, 1.85:1, English, USA.
  • Louis Malle, Le souffle au cœur, 1971, 35 mm, color, mono sound, 118 minutes, 1.66:1, French, France.

2018 Festival Dispatch #3 Show Notes

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
  • 12th (1974): 28/21/20
  • 6th (1968): 26/25/22
  • 5th (1967): 26/23/22
  • 10th (1972): 24/22/24
  • 7th (1969): 23/23/20
  • 1st (1963): 21/21/21
  • 13th (1975): 21/20/20
  • 11th (1973): 19/18/17
  • 9th (1971): 18/18/18

Total: 323/293/279

Festivals by Primary Location:

  • Philharmonic Hall: 8
  • Alice Tully Hall: 4
  • Vivian Beaumont Theater: 1

Selection Committee Members:

  • Richard Roud (first program director): 13
  • Arthur Knight: 10
  • Andrew Sarris: 9
  • Susan Sontag: 9
  • Henri Langlois (retrospective consultant): 7
  • Amos Vogel (original festival director): 6
  • Richard Corliss: 5
  • Arthur L. Mayer: 5
  • Roger Greenspun: 1
  • Penelope Huston: 1
  • Charles Michener: 1
  • John Russell Taylor: 1

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

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

Directors with only one appearance: 81
Directors with only one appearance whose appearance was a gala: 7

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

  • France: 81/97/11
  • USA: 39/52/2
  • Italy: 30/34/3
  • UK: 19/21/1
  • West Germany: 19/20
  • Japan: 12/14/1
  • Czechoslovakia: 11/13/3
  • Sweden: 10/10
  • Poland: 9/9
  • Hungary: 8/8
  • USSR: 5/5/2
  • India: 5/5/1
  • Yugoslavia: 5/5
  • Canada: 4/5
  • Spain: 3/3/1
  • Argentina: 3/3
  • Brazil: 3/3
  • Switzerland: 3/3
  • Mexico: 2/3/1
  • Belgium: 2/2
  • Denmark: 2/2
  • Greece: 2/2
  • Senegal: 2/2
  • Germany: 0/2

Film Format:

  • 35mm: 261
  • 16mm: 55
  • 35mm and 16mm: 4
  • 16mm and 35mm: 2
  • 35mm and 8mm: 1

Aspect Ratio:

  • 1.37:1: 152
  • 1.66:1: 81
  • 1.85:1: 43
  • 2.35:1: 23
  • 1.33:1: 9
  • 1.20:1: 7
  • 2.39:1: 6
  • 2.55:1: 1
  • 1.33:1 and 4.00:1: 1

B&W/Color:

  • Black & White: 156
  • Color: 149
  • Black & White and Color: 10
  • Color and Black & White: 8

Primary Language:

  • French: 91
  • English: 78
  • Italian: 27
  • German: 24
  • Japanese: 13
  • Czech: 10
  • Swedish: 10
  • Spanish: 9
  • Polish: 8
  • Hungarian: 7
  • Bengali: 5
  • Serbo-Croatian: 5
  • Russian: 4
  • French and English: 3
  • Portuguese: 3
  • French and English and German: 2
  • Greek: 2
  • Wolof: 2
  • Algerian and French: 1
  • Danish: 1
  • Danish and Swedish: 1
  • Dutch: 1
  • English and Bengali: 1
  • English and French: 1
  • English and French and German: 1
  • English and Italian: 1
  • Finnish: 1
  • French and English and Hebrew and German and Russian: 1
  • French and German: 1
  • French and Italian and Spanish: 1
  • Hungarian and Russian: 1
  • Italian and French: 1
  • Japanese and English: 1
  • Portuguese and Italian: 1
  • Serbo-Croatian and English: 1
  • Slovak: 1
  • Slovak and German: 1
  • Ukranian: 1

Sound/Silent:

  • Mono Sound: 307
  • Silent: 10
  • 4-Track Stereo Sound: 3
  • Silent/Mono Sound: 2
  • Stereo Sound: 1

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

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

Total: 31855/98:38

Films Over Two-and-a-Quarter Hours

  • Les Vampires (3rd, 417)
  • Napoléon (5th, 333)
  • Bonaparte and the Revolution (9th, 275)
  • Out 1: Spectre (12th, 253)
  • L’Amour fou (10th, 252)
  • The Sorrow and the Pity (9th, 251)
  • Dr. Mabuse the Gambler (11th, 242)
  • The Mother and the Whore (11th, 217)
  • L’Argent (6th, 195)
  • Milestones (13th, 195)
  • Céline and Julie Go Boating (12th, 193)
  • Israel Why (11th, 185)
  • Red Beard (3rd, 185)
  • Andrei Rublev (11th, 183)
  • A Woman Under the Influence (12th, 155)
  • 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)
  • Lacombe Lucien (12th, 138)
  • The Merry Widow (7th, 137)
  • The Big City (2nd, 136)

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

  • Bernardo Bertolucci: 6 [La commare secca to Last Tango in Paris]
  • Robert Bresson: 6 [The Trial of Joan of Arc to Lancelot du Lac]
  • Jean-Luc Godard: 5 [Alphaville to 2 or 3 Things I Know About Her]
  • Alain Resnais: 5 [Muriel, or the Time of Return to Stavisky…]
  • Jean-Marie Straub & Danièle Huillet: 5 [Not Reconciled to Moses und Aron]
  • Luis Buñuel: 4 [The Milky Way to The Phantom of Liberty]
  • Werner Herzog: 4 [Signs of Life to Land of Silence and Darkness]
  • Jerzy Skolimowski: 4 [Identification Marks: None to Le Départ]
  • René Allio: 3 [The Shameless Old Lady to Pierre and Paul]
  • Luis Buñuel: 3 [The Exterminating Angel to Simon of the Desert]
  • Claude Chabrol: 3 [Le Boucher to Just Before Nightfall]
  • Milos Forman: 3 [Black Peter to The Firemen’s Ball]
  • 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 (First Appearance of Film Only)

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

Number of world premieres: 23
Number of Palme d’Or winners: 0
Number of Golden Bear winners: 3
Number of Golden Lion winners: 4
Number of Golden Leopard winners: 2
Number of Best Picture winners: 0
Number of New York Film Critics Circle Best Film winners: 2
Number of Los Angeles Film Critics Association Best Film Winners: 0
Number of National Society of Film Critics Best Film winners: 2

Number of documentaries (feature or short): 39
Films directed in part or whole by women: 22
Number of directorial debuts: 51
Number of final features: 9

Films premiered the same year as their festival appearance: 197
Films premiered the year before their festival appearance: 69
Films premiered more than one year before their festival appearance (non-retrospective): 25
Number of retrospectives: 32
Galas that premiered in a different year from their festival appearance: 8
Films that showed multiple times in the Main Slate: 4

Films released the same year as their festival appearance: 80
Films released one or two years after their festival appearance: 86
Films released more than two years after their festival appearance: 51
Films never released: 86
Retrospective films released before their festival appearance: 20

Films better known by their original titles rather than the English translation: 41
Films whose English titles differ from a direct translation of the original title: 51
Films whose primary language differs from the primary production country’s official language(s): 29

New York Film Festival Editions Ranked

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

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, Zorns Lemma
  • 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, mono sound, 83 minutes, 1.66:1, French, France.
  • Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin, Le Vent d’est, 1970, 16 mm, color, mono sound, 95 minutes, 1.37:1, French, France.
  • Bob Rafelson, Five Easy Pieces, 1970, 35 mm, color, mono sound, 98 minutes, 1.85:1, English, USA.
  • Hollis Frampton, Zorns Lemma, 1970, 16 mm, color, mono sound, 60 minutes, 1.37:1, English, USA.
  • Dick Fontaine, Double Pisces, Scorpio Rising, 1970, 16 mm, color, mono sound, 58 minutes, 1.37:1, English, 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, mono sound, 88 minutes, 1.37:1, French, Italy.
  • Claude Chabrol, Le Boucher, 1970, 35 mm, color, mono sound, 93 minutes, 1.85:1, French, France.
  • Marin Karmitz, Camarades, 1970, 16 mm, color, mono sound, 85 minutes, 1.66:1, French, France.
  • Kenji Mizoguchi, Chikamatsu Monogatari, 1954, 35 mm, black-and-white, mono sound, 102 minutes, 1.37:1, Japanese, Japan.
  • Lars Lennart Forsberg, Misshandlingen, 1969, 35 mm, black-and-white, mono sound, 104 minutes, 1.37:1, Swedish, Sweden. (?)
  • Ken Loach, Kes, 1969, 35 mm, color, mono sound, 111 minutes, 1.66:1, English, UK.
  • Martin Scorsese, Street Scenes 1970, 1970, 16 mm, black-and-white, mono sound, 75 minutes, 1.37:1, English, USA. (?)
  • Alain Resnais, Je t’aime, je t’aime, 1968, 35 mm, color, mono sound, 94 minutes, 1.66:1, French, France.
  • Carlos Diegues, Os Herdeiros, 1970, 35 mm, color, mono sound, 110 minutes, 1.37:1, Portuguese, Brazil. (?)
  • Marguerite Duras & Paul Seban, La Musica, 1967, 35 mm, black-and-white, mono sound, 80 minutes, 1.66:1, French, France.
  • Marcel Hanoun, Une simple histoire, 1959, 16 mm, black-and-white, mono sound, 68 minutes, 1.37:1, French, France.
  • Werner Herzog, Auch Zwerge haben klein angefangen, 1970, 35 mm, black-and-white, mono sound, 96 minutes, 1.37:1, German, West Germany.
  • Bernardo Bertolucci, Strategia del ragno, 1970, 35 mm, color, mono sound, 100 minutes, 1.37:1, Italian, Italy.
  • Kjell Grede, Harry Munter, 1969, 35 mm, color, mono sound, 101 minutes, 1.66:1, Swedish, Sweden.
  • Carlos Saura, El jardín de las delicias, 1970, 35 mm, color, mono sound, 95 minutes, 1.85:1, Spanish, Spain.
  • Bernardo Bertolucci, Il conformista, 1970, 35 mm, color, mono sound, 113 minutes, 1.66:1, Italian and French, Italy.
  • Henri Langlois, From Lumiere to Langlois: The French Silent Cinema, 1970, 35 mm, black-and-white, silent, 60 minutes, 1.33:1, French, France. (?)
  • Elia Hershon & Roberto Guerra, Langlois, 1970, 16 mm, color, mono sound, 52 minutes, 1.37:1, French, France. (?)
  • Satyajit Ray, Aranyēra Dinarātri, 1970, 35 mm, black-and-white, mono sound, 115 minutes, 1.37:1, Bengali, India.
  • Liliana Cavani, I cannibali, 1970, 35 mm, color, mono sound, 88 minutes, 2.39:1, Italian, Italy.
  • Maurice Hatton, Praise Marx and Pass the Ammunition, 1970, 35 mm, color, mono sound, 90 minutes, 1.66:1, English, UK. (?)
  • Ermanno Olmi, I recuperanti, 1970, 35 mm, color, mono sound, 101 minutes, 1.37:1, Italian, Italy.
  • Luis Buñuel, Tristana, 1970, 35 mm, color, mono sound, 105 minutes, 1.66:1, Spanish, 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 [Unavailable] (2:00:17-2:01:29)
  • 1:09 The Lady From Constantinople [Unavailable] (1:01:20-1:02:29)

Specifications

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

2018 Festival Dispatch #1 Show Notes

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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