[et_pb_section fb_built=”1″ specialty=”on” admin_label=”Post Layout” _builder_version=”4.16″ collapsed=”off” global_colors_info=”{}”][et_pb_column type=”3_4″ specialty_columns=”3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_row_inner _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” locked=”off” global_colors_info=”{}”][et_pb_column_inner saved_specialty_column_type=”3_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Gary’s Corner original text 3\/24 \u2013 3\/26\/2023″ _builder_version=”4.20.0″ link_text_color=”#0c71c3″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” transform_scale_linked=”off” transform_translate_linked=”off” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
With a new baseball season on the\u00a0horizon,\u00a0you might say that New Plaza Cinema<\/strong> is swinging for the fences this weekend, starting with Sunday afternoon’s\u00a0screening\u00a0of Marcel\u00a0Ophuls’ epic 1969 documentary The Sorrow and the Pity<\/strong><\/em>.\u00a0The New Yorker’s<\/em> Richard Brody has eloquently called it:<\/p>\n “One of the few movies that can rightly be said to have changed the course of history…(Ophuls) reconstructs the history of the Second World War as experienced in France, from the German invasion through the liberation, with an emphasis on daily life under the Occupation…by way of extensive interviews, which he films with a wide-ranging set of participants including\u00a0French resistance fighters, collaborators with the Nazis,\u00a0unrepentant former German officers…The movie’s prime audacity was to refute France’s self-serving myth of having been a nation of resisters.\u00a0As a result, the film, though intended for broadcast, was barred from French television until 1981.”\u00a0<\/em><\/p>\n Ironically, this week’s NY Times<\/strong><\/em> features extensive coverage of both France’s Resistance past and its current turmoil, to which The Sorrow and the Pity<\/em><\/strong>, in this digital reissue with upgraded picture and English subtitles, is an indispensable bookend.<\/p>\n A German drama, also new to our schedule this week, explores another corner of the vast WW2 canvas. In The Forger<\/strong><\/em>,\u00a0a 21-year old Jewish man escapes the Berlin Gestapo and commences to save\u00a0lives via his genius at forging passports.\u00a0But his\u00a0breathtaking sang-froid masks the mounting turmoil in his own soul.\u00a0 RogerEbert.com’s Monica Castillo wrote:<\/p>\n “Star Louis Hofmann (featured with Ralph Fiennes in New Plaza <\/strong>audience favorite The White Crow<\/strong>) is a charming lead, with the charisma to change gears mid-scene, alter his tone and body language within the same breath. When things inevitably get dark, he\u2019s able to carry the film using his expressive eyes, bringing to the screen a character who looks as if he\u2019s already seen too much in his young life. ”\u00a0<\/em><\/p>\n This weekend will also feature encore screenings of the Julian Assange doc Ithaka<\/strong><\/em> (following last\u00a0 weekend’s sold out show); the Oscar-winning\u00a0Telegu action-and-musical dynamo RRR<\/strong><\/em>, whose attendance keeps growing with each screening; and our perennially popular Living, Turn Every Page<\/strong><\/em> and The Quiet Girl<\/strong><\/em>.<\/p>\n As always, we recommend early, online ticket purchase…<\/p>\n <\/p>\n Gary Palmucci, Film Curator [\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_sidebar orientation=”right” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_sidebar][\/et_pb_column][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" With a new baseball season on the\u00a0horizon,\u00a0you might say that New Plaza Cinema is swinging for the fences this weekend, starting with Sunday afternoon’s\u00a0screening\u00a0of Marcel\u00a0Ophuls’ epic 1969 documentary The Sorrow and the Pity.\u00a0The New Yorker’s Richard Brody has eloquently called it: “One of the few movies that can rightly be said […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-12520","post","type-post","status-publish","format-standard","hentry","category-garys-corner"],"_links":{"self":[{"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts\/12520","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/comments?post=12520"}],"version-history":[{"count":3,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts\/12520\/revisions"}],"predecessor-version":[{"id":12523,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts\/12520\/revisions\/12523"}],"wp:attachment":[{"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/media?parent=12520"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/categories?post=12520"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/tags?post=12520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
New Plaza Cinema<\/em><\/strong><\/p>\n