Goran Paskaljevic’s Honeymoons (Sep 9–15): “With Honeymoons, Serbian filmmaker Goran Paskaljevic became the first director to make a Serbian-Albanian coproduction—a courageous endeavor given the current antipathy between the two countries. In a “new” Europe that strives to free itself from frontiers, two unrelated, loving couples must leave their hometowns, but they find their efforts to move forward unexpectedly stymied by national boundaries.” Link to screening info.
Barbara Hammer Screenings (Sep 15 – Oct 13): “Barbara Hammer is renowned for creating the earliest and most extensive body of avant-garde films on lesbian life and sexuality. Galvanized by the second wave of feminism in the 1970s, she soon became a pioneer of queer cinema. Hammer has since directed more than eighty films, using avant-garde strategies to explore lesbian and gay sexuality, identity, and history, along with other heretofore unrepresented voices.” Link to more info.
Frederick Wiseman Screenings (until Dec 31): “To celebrate the recent acquisition of newly struck prints of thirty-six films by Frederick Wiseman (b. 1930, Boston), The Museum of Modern Art presents a comprehensive retrospective of the director’s work. Featuring three to four films each month, this yearlong survey opens with Basic Training (1971), followed by a conversation with Wiseman and curator Josh Siegel, and spans his entire career, from Titicut Follies (1967) to his two most recent projects, La Danse—The Paris Opera Ballet (2009) and Boxing Gym (2010).” Link to more info.
An Auteurist History of Film (Ongoing): “This ongoing screening cycle is intended to serve as both an exploration of the richness of the Museum’s film collection and a basic introduction to the emergence of cinema as the predominant art form of the twentieth century. The auteurist approach to film—articulated by the critics of Cahiers du Cinéma in the 1950s and brought to America by Andrew Sarris—contends that, despite the collaborative nature of the medium, the director is the primary force behind the creation of a film. This exhibition takes this theory as its point of departure, charting the careers of several key figures not in order to establish a formal canon, but to develop one picture of cinematic history.” Link to more info.