{"id":8810,"date":"2022-05-05T08:40:33","date_gmt":"2022-05-05T08:40:33","guid":{"rendered":"https:\/\/newplazacinema.org\/test_area\/?p=8810"},"modified":"2022-05-05T08:47:01","modified_gmt":"2022-05-05T08:47:01","slug":"films-5-05-5-08-22","status":"publish","type":"post","link":"https:\/\/newplazacinema.org\/test_area\/films-5-05-5-08-22\/","title":{"rendered":"Films 5\/05 &#8211; 5\/08\/22"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; specialty=&#8221;on&#8221; admin_label=&#8221;Post Layout&#8221; _builder_version=&#8221;4.4.7&#8243; collapsed=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;3_4&#8243; specialty_columns=&#8221;3&#8243; _builder_version=&#8221;3.25&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_row_inner _builder_version=&#8221;3.25&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column_inner saved_specialty_column_type=&#8221;3_4&#8243; _builder_version=&#8221;3.25&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;Text&#8221; _builder_version=&#8221;4.11.3&#8243; link_text_color=&#8221;#0c71c3&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; transform_scale_linked=&#8221;off&#8221; transform_translate_linked=&#8221;off&#8221; hover_enabled=&#8221;0&#8243; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<h2><\/h2>\n\n<p class=\"p1\"><span class=\"s1\">This weekend at New Plaza Cinema @ the West End Theatre we&#8217;re adding Kenneth Branagh&#8217;s Oscar winning\u00a0<b><i>Belfast<\/i><\/b>\u00a0(Best Original Screenplay) to our ongoing runs of\u00a0<i>The Automat, Drive My Car\u00a0<\/i>and\u00a0<i>The Wobblies<\/i>, as well as three new releases and a 1960s British reissue.\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b><i>Ana\u00efs\u00a0in Love<\/i><\/b>\u00a0&#8211; I strongly recommend perusing in the\u00a0<i>NY Times\u00a0<\/i>Manohla Dargis&#8217; heartfelt tribute to this French romance with a first-rate cast. Its young title character\u00a0<\/span><span class=\"s3\">\u2014<\/span><span class=\"s1\">\u00a0a contrarian in both her emotions and life choices\u00a0<\/span><span class=\"s3\">\u2014<\/span><span class=\"s1\">\u00a0falls into an affair with a publisher, then in love with his charismatic wife, an author (the radiant Valeria Bruni-Tedeschi). Dargis notes, &#8220;Ana\u00efs is, in other\u00a0words, a 21st century human being who, in finding herself\u00a0on her own stubborn, singular, unquiet terms, has ditched the usual script about men, women, pleasure and desire&#8230;&#8221;\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b><i>The Tale of King Crab<\/i><\/b>\u00a0&#8211; In another\u00a0<i>NYT<\/i>-endorsed curio from two young Italian filmmakers, a late 19th century scion of a well-to-do family\u00a0is exiled to a remote South American coast and picaresque adventures, as critic Glenn Kenny writes, &#8220;&#8230;aided, perhaps improbably to some, by &#8211; yes &#8211; a king crab. (There are) echoes of the best work of Werner Herzog&#8230;movie makers worth keeping an eye on.&#8221; \u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b><i>Fiddler&#8217;s Journey to the Big Screen\u00a0<\/i><\/b>&#8211; The recent 50th anniversary of the movie version of\u00a0\u00a0<b><i>Fiddler on the Roof\u00a0<\/i><\/b>is both gleefully and reverently recounted by its self-described &#8220;goy&#8221; director Norman Jewison, and a host of cast and music department members . \u00a0\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b><i>Bronco Bullfrog<\/i><\/b>\u00a0&#8211; In a recent special\u00a0<i>NY Times<\/i>\u00a0article, critic and film historian J. Hoberman hailed this &#8220;belated\u00a0example of British &#8216;kitchen sink&#8217; realism that arrived in 1969 before the wave of disaffected youth films by Mike Leigh and Alan Parker&#8230;.A cast of non-actors recruited from the streets of London&#8217;s depressed East End enact a story that might have been their own.&#8221;\u00a0 It was originally released in the US a few months after\u00a0<i>Fiddler on the Roo<\/i>f by New Yorker Films, the distribution arm of Lincoln Plaza Cinemas, whose eclectic mix of international cinema New Plaza Cinema seeks to emulate, and celebrate.\u00a0<\/span><\/p>\n<p class=\"p3\"><span class=\"s2\"><b>COMING NEXT WEEK<\/b>\u00a0&#8211; A special screening of Al Pacino&#8217;s first starring role, the classic\u00a0<i>Panic in Needle Park<\/i>, hosted by\u00a0<i>NYT<\/i>\u00a0film critic Jason Bailey, as well as two recent Jewish-themed documentary features:\u00a0<i>Irmi<\/i>\u00a0and\u00a0<i>Jonathan Agassi Saved My Life<\/i>, the latter about an Israeli global porn star&#8230;<\/span><\/p>\n<p id=\"gary_credit\" style=\"margin-top: 30px;\"><strong><em>Gary Palmucci, FIlm Curator<br \/>New Plaza Cinema<\/em><\/strong><\/p>\n<p>[\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=&#8221;1_4&#8243; _builder_version=&#8221;3.25&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_sidebar orientation=&#8221;right&#8221; _builder_version=&#8221;4.4.7&#8243; global_colors_info=&#8221;{}&#8221;][\/et_pb_sidebar][\/et_pb_column][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>  This weekend at New Plaza Cinema @ the West End Theatre we&#8217;re adding Kenneth Branagh&#8217;s Oscar winning\u00a0Belfast\u00a0(Best Original Screenplay) to our ongoing runs of\u00a0The Automat, Drive My Car\u00a0and\u00a0The Wobblies, as well as three new releases and a 1960s British reissue.\u00a0 Ana\u00efs\u00a0in Love\u00a0&#8211; I strongly recommend perusing in the\u00a0NY Times\u00a0Manohla Dargis&#8217; heartfelt [&hellip;]<\/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-8810","post","type-post","status-publish","format-standard","hentry","category-garys-corner"],"_links":{"self":[{"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts\/8810","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=8810"}],"version-history":[{"count":4,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts\/8810\/revisions"}],"predecessor-version":[{"id":8816,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/posts\/8810\/revisions\/8816"}],"wp:attachment":[{"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/media?parent=8810"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/categories?post=8810"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newplazacinema.org\/test_area\/wp-json\/wp\/v2\/tags?post=8810"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}