Thursday, May 31, 2012

Julia Murat's FOUND MEMORIES, about motion (& still) pictures, opens in New York

How unusual, what a blessing it is to have two quiet and beautiful movies opening up the same week in New York City, certainly one of the hustle/bustle capitals of the globe. For anyone wanting a respite, some solace from the ever-present rupture and noise, you've got two fine choices (Why choose: See 'em both!): Hide Away, covered earlier this week, and the film under consideration here, FOUND MEMORIES.

This very quiet movie, co-written (with Maria Clara Escobar and Felipe Sholl) and directed by Júlia Murat, (shown at right) tells the simple and slow-moving story of a backwater Brazilian town, located in the verdant region of the Paraíba Valley. Formerly somewhat grand but now fallen into disrepair and populated by a few remaining senior citizens and the town's priest -- each of whom apparently has a daily task to accomplish for the good of the small community -- the town of Jotuomba could almost be seen as what lies in store for another small community, whose story was finely told in the recent documentary Tales from Dell City, TX.

Found Memories, however, is not a documentary, though it uses much of the kind of film-making technique found in documentaries (Ms Murat's only other full-length feature was a doc titled Dia dos pais). This is a narrative film, with the town and its characters created from the imagination but given such specifics (along with rapturously lovely cinematography by Lisandro Alonso's usual cameraman, Lucio Bonelli) that they live and breathe and catch us up in their lives -- despite (maybe even because of) how slowly things move here. This is part of the town's and of the movie's charm. You'll either go with it or quickly give up.

The townsperson we spend most time with is Madelena, in her 80s, still mourning her late husband and baking the town's bread, rising in the still-dark early morning to make and then carry the bread (see left) to Antonio (Luiz Serra), who runs the town's empty coffee house and calls Madelena a "stubborn old lady" because she insists on placing the bread her way in his shop, after which he re-does it to his own specifications.  ("OK, OK. So when," I hear you youngsters asking, "comes the first car chase/car crash?")

The movie's action, such as it is, concerns the arrival of a young woman named Rita (played by Lisa Fávero, above), a photographer perhaps on vacation (or escaping from a bad relationship) who needs a hotel (there is none) and so persuades Madelena to let her stay with her for a few days. These soon become a week, and a guarded relationship (between Rita and Madelena and between Rita and the town and its inhabitants) slowly blossoms into something more.

There. TM has done what he always tries to avoid -- giving away the goddamned plot. Yet this blossoming, with its tiny increments and details, is really all. Within it, you'll stumble across some inter-esting ideas: the glories of motion vs. still photography, why age needs youth & vice versa, and the uses and importance of tradition and repetition. And maybe ever more that I didn't catch. So relax, lean back, stay awake, and enjoy. This is one beautiful movie.

Found Memories (called Historias que so existem quando lembradas in its native Portuguese), from the ever-reliable Film Movement, opens tomorrow -- Friday, June 1 -- in New York City at the Lincoln Plaza Cinema. The only other playdate currently scheduled can be found here. Once the movie opens in Manhattan and does some decent box-office, however, who knows?

Wednesday, May 30, 2012

Léa Pool's PINK RIBBONS, INC. questions our standard response to breast cancer


This could be the most important documentary of the year. Forget that: of the decade. You might say that it goes against conventional wisdom, except that this isn't wisdom, really: just conventional, follow-the-leader, lemming-like behavior in the quest for a feel-good quick fix. In any case, the film is going to be extremely unpopular among the powers-that-be in the corporate and medical world.
PINK RIBBONS, INC., the new documentary from Canadian film-maker Léa Pool, shown at right, is likely to make those people apoplectic even a few minutes into the movie. Not that Ms Pool or any of her many interviewees ever raises their voice. No. These people are quiet, concerned, informed -- and fed up. As you may be, too, once you've watched the movie in its entirety.

Believe me, I have nothing against the color pink or against ribbons in general. In fact, hearing the story of the woman, now elderly, who first came up with the idea of a ribbon as a symbol for breast cancer, proved both a heartening and appalling experience. Appalling because her initial ribbon was the color orange -- nothing wrong with that -- but when a very well-known corporation wanted to buy from her the right to own that ribbon and use it to hawk product and make money, she said no. And so, clever company that it was, it simply changed the color to pink. And that's how we've become stuck with pink products galore that would have you believe that they are all helping to fight breast cancer.  

Are they not? Well, Pink Ribbons, Inc. shows us why they not only are not helping but may actually be hindering, as well. Ms Pool and her researchers get down to the nub of things by pointing out how certain companies, while going "pink" to raise money to help fight breast cancer, are simultaneously manufacturing products that are linked to causing the disease.

This is capitalism run typically amok, and further encouraged by the huge commercial success of the entire "pink" campaign that has, as the movie so insightfully demonstrates, raised millions of dollars in the name of breast cancer -- very few of which are devoted to prevention of the disease or to the real education of the public, but rather go for "research" and that long promised "cure." As social critic Barbara Ehrenreich (above, who leads off this fine film) quietly explains, "The effect of the whole pink ribbon culture has been to drain and deflect the kind of militancy we had...." As the movie points out, with specifics that encompass psychology, sociology, economics and politics, the breast cancer movement has changed from activism to feel-good consumerism.

We watch, aghast, as Pink seems to take over the world: from the expected Teddy Bears to food product (what Barbara A. Brenner, below, ex-Executive Director of Breast Cancer Action, says about a certain company's yogurt campaign is highly instructive, while what we learn about the Kentucky Fried Chicken campaign is downright shocking). Even Niagra Falls and the Empire State Building go pink! Starting back in the 1970s -- with the Reagan administration's push toward "private" and "business" solutions to health, social welfare and charity -- the film moves on to the Pink Campaign's selectively leaving out those women who are dying via Stage 4 Breast cancer (come on, this campaign is about surviving, not death!), quietly and effectively raising your hackles in the process.

By the time it gets to exactly where all the money raised for breast cancer actually goes, and why, and to the big pharmaceutical companies such as Eli Lily who appear to be working both sides of the street, you'll  be ready to cry uncle. After watching this 97-minute documentary, TrustMovies has come up with a couple of slight rhymes that he plans to live by from now on:

If it's pink, it'll likely stink
and
If there's a ribbon, 
 somebody's fibbin'

Or, to put it even more succinctly by quoting the objective of this compassionate, well-reasoned documentary: to persuade the word's citizenry to simply "Think before you pink." 

Pink Ribbons, Inc., from First Run Features, will open this Friday, June 1 in New York City (at the IFC Center) and in the Los Angeles area (at Laemmle's Monica 4-Plex and Playhouse 7), and will begin a limited release that will hit at least 20 more cities across the country in the weeks to come. Click here to see all currently scheduled playdates.

Tuesday, May 29, 2012

A CAT IN PARIS: Jean-Loup Felicioli & Alain Gagnol's Oscar-nominated animation opens

By the time that last year's Academy Awards were upon us, audiences had been able to see four of the five nominated animated films: the three Hollywood mainstreamers (Rango. which won, Puss in Boots and Kung Fu Panda 2) and the little Spanish/Cuban lovely, Chico & Rita. But what about that fifth film -- of which nobody seemed to have heard anything -- a little movie called A CAT IN PARIS? Now we know.

Directed by Jean-Loup Felicioli and Alain Gagnol (shown above, with M. Felicioli on the left) and written by M. Gagnol and Jacques-Rémy Girerd, this 67-minute round of non-stop, stylized and stylish, hand-drawn animation is a visual treat of major propor-tions in the guise of a minor kids' adventure. The film's original French title, Une vie de chat (A Cat's Life) is funnier and more ironic than its English counterpart (of course the cat's in Paris; that's where it lives).

TrustMovies took his 7-year-old grand-daughter to the screening, and she pronounced the film "very good; I liked it a lot." Fortunately, its distributor GKIDS is releasing the film in both dubbed and French-language/English-subtitled versions. We saw the dubbed one, which was done quite well, with the likes of Marcia Gay Harden, Matthew Modine and Angelica Huston handling the voices.

You might call the story, which said grand-daughter found "a little scary," a kind of police procedural for kids. It has to do with a young girl named Zoe (above) who, due to a fairly recent traumatic experience (unseen on screen), has lost her ability and/or will to speak. While at work, Mom leaves Zoe with a housekeeper and her pet cat, Dino, who, it turns out, has quite the active night life. I've often heard that cats are nocturnal creatures; this one defines the lifestyle.

Art theft, rooftop chases, kidnapping and more ensue, and the clever, economical but often quite gorgeous animation -- which is definitely the star of this show -- makes everything eye-poppingly watchable. Ah, the Parisian night scenes (above), or the wonderfully rendered change of seasons (below)! On the other hand, the animation is nicely subtle and suggestive (notice how the artists indicate whiskers and other facial and body hair). There's always a smart sense of humor at work here, too.

Not that the kids'll notice, but the movie includes some nice take-offs of film noir, along with everything else it manages (including an initial Mission Impossible-like robbery). This stuff is for the attending parents, who will probably be film buffs in their own right (or they wouldn't be taking their kids to see non-Hollywood animation). Note: as both the English-dubbed and English-subtitled versions will be shown, make sure you know which one is playing at the particular screening time you've chosen. Unless the kids are older (or are very advanced), they may not be able to keep up with the English subtitles....

A Cat in Paris, which is a special treat for those of us who still love hand-drawn animation, opens this Friday, June 1, in New York City (the Angelika Film Center and the AMC Empire 25) and at Land-mark theaters in Los Angeles (NuArt), San Diego (Ken Cinema), Berkeley (Shattuck Cinemas) and San Francisco (one of the Landmarks; at this point they're not telling us which).  The movie will be opening elsewhere all across the country over the summer. Click here to see currently scheduled playdates, cities and theaters.

Monday, May 28, 2012

CHELY WRIGHT: WISH ME AWAY--Bobbie Birleffi & Beverly Kopf's new doc tracks the coming-out of a country-music star. Yikes!

The new documentary, CHELY WRIGHT: WISH ME AWAY -- about a famous country music star who, after years of success, including a couple of hit songs, one of which soared to number one on the charts -- is fascinating for a bunch of reasons. It offers the fullest view I've yet seen of what publicly admitting yourself to be gay is like for a celebrity, and in doing so tackles not just the public persona involved, but the private person, that scared little girl with a need to be loved underneath all the "personal appearances," the PR, the glitz and the ever-present fans. The better-known you are, the more difficult coming-out has to be.

And Ms Wright (above) -- near the top of her game as a beautiful, young country music performer -- would seem to have an awfully lot at risk, should she lose her fan base and the approval of the country western powers-that-be.

The film's co-directors,  Bobbie Birleffi (above, right) and Beverly Kopf (above, left), yank us into things by letting us see some of the private video diaries kept by Chely (the Ch in her name is pronoun-ced as Shelly, rather than as the ch in chocolate). These videos, one moment from which is shown below, are full of her doubts and fears, as well as her hopes, and they make a rather startling contrast to the public performer we see elsewhere in the film.

From these diaries, and from the usual talking heads -- which include everyone from close family members (interestingly enough, mom is not among these) to prominent figures in the music business, and even Chely's pastor, who has some of the more interesting, even surprising, things to tell her (and us), we get a rounded feel for the public performer and private woman, as well as for the milieu in which she labors.


The performer makes it clear that she's for god and country (above) -- she's in country music territory, after all -- and she also lets us in on how badly she feels about her inability, when she was still closeted, to be honest and open with some of the males in her life, one of which is shown below. (TrustMovies must admit at this point that he knows little about country music or its performers; if he did, he'd probably be able to identify the guy below.)

The film is full of succinct, often funny nuggets: her dad tells us that the family always knew Chely would be a performer because, as a little girl, "she used to sit on the can and sing Loretta Lynn songs." From an early age, this girl knew, not only that she was "different," but what that difference meant. One of the saddest moments comes when she tells us, "I made a deal with god: 'I won't act on this, and that will give you time to take it away'." Good luck.

The filmmakers take us up to and through the media circus that results when Chely finally does the deed, and we learn the outcome of all this -- so far, at least -- both personally and professionally. Birleffi and Kopf had access to Ms Wright for three years, and they watched and filmed her struggle. It was time well spent. The resulting 96-minute movie (cut down from a longer two-hour version that evidently played some festivals) should prove time equally well-spent for viewers of this remarkable history.

I'd like to say that Chely Wright; Wish Me Away might result in more celebrities coming out of the closet. But because the film is done with such honesty, showing the pain, the struggle and the not-always-so-fabulous results, I am not at all sure. You put your career on the line when you make a move (and a movie) like this, and when your primary audience is composed mainly of today's fundamentalist Christians, who have not even a nodding acquaintance with the actual teachings of their supposed prophet, what can you expect?  As one of the music men who understands this audience all too well puts it: "There's nobody quite as mean as someone who's being mean for Jesus."

The movie opens this Friday, June 1, in New York City at the Quad Cinema, with further openings across the country in the weeks to follow -- just in time for, you guessed it, those ubiquitous Gay Pride parades. Click the link ahead to view the complete listing of scheduled playdates, with cities and theaters.

Sunday, May 27, 2012

Charlotte Brändström/Hans Rosenfeldt's version of Henning Mankell's WALLANDER: THE REVENGE opens in NYC & Los Angeles

Made for Swedish television, which, if this particular 90-minute episode is any indication, is better and more adult than American network TV (are we surprised?), HENNING MANKELL'S WALLANDER: THE REVENGE (that'll fill or kill a marquee!) is also better than the ersatz-Swedish version that starred Kenneth Branagh and aired here a couple of years ago via Public Television. Why? The first thing you'll notice is that this film is much less glossy. A sense of reality hangs over everything from police headquarters and individual domiciles to the quiet (until very recently) little town itself.

This film is said to be the first episode of the original Swedish Wallander series, and its director, Charlotte Brändström (shown at right), and writer, Hans Rosenfeldt, do a good job of introducing the characters, as well as bringing things to a satisfactory conclusion, while leaving just enough interesting loose ends to make us want to continue watching. Which is handy, since the movie's theatrical distributor, Music Box Films, this past Friday released to VOD, iTunes, Amazon and Vudu thirteen of these Wallander "movies" for our further delectation. DVD versions will be available this coming Tuesday, May 29.

Bad things suddenly happen in the town in which Wallander abides -- explosions, murders -- at the same time as a controversial (read Muslim) museum exhibit is opening. The question of terrorism immediately rises, the army is called in, and politicians get into the act. What is going on -- and why?

As police-procedurals go, this particular Wallander is a pretty good one: relatively fast-moving, but never too fast to omit the smart detail or character trait that helps enrich the whole. And the character of Wallander himself is brought to life so much better than did the PBS version. Kenneth Branagh is a fine actor, but he was spotlighted far too heavily in that series and finally made to seem like such an icon that his every moment and move had to register strongly. Too strongly. Krister Henriksson (shown above), the Wallander of this series, plays his character as simply a man: decent, old-fashioned (he's got some things to learn about today's women), brave, and intelligent but no Einstein. He surrounds himself with good people and makes the best use of them. Henriksson gives a quiet and increasingly strong performance. He's memorable without ever being showy.

The only other "known" cast member to most Americans will be Lena Endre, at right, who plays the Swedish equivalent of a district attorney who must work with Wallander. She's lovely -- and as watchable as ever.

Perfectly good entertainment on any level, this Wallander still has the look and feel of television. But if you're hankering for a big-screen movie experience, it'll be opening on either coast: this coming Friday, June 1, in New York City at the Cinema Village, and on Friday, June 8, in the Los Angeles area at the Laemmle Music Hall 3.

Saturday, May 26, 2012

Scheinmann bros' cutting-edge ensemble delight -- THE WEST WITTERING AFFAIR

A good friend of mine, who is also a psychotherapist, once told TrustMovies that any two people could form a successful relation-ship and/or marriage. There were only two necessities: They had to be mature (that is, autonomous) adults, and they had to want the relationship. Granted, that first necessity precludes at least three-quarters of the world's adult population but, still, this is a very interesting concept. It came to mind while TM and his companion were watching a British movie he had only just become aware of -- THE WEST WITTERING AFFAIR -- though it was actually made in 2006 but released solely (and all too briefly) in the U.K. at the end of that year.

The WWA, as I'll now refer to it, is a rom-com set partially in the titular tiny village, located in the West Sussex district of England. The movie features a quartet of smart performers. Later a younger, fifth wheel is added to the group, but for most of the movie it's this foursome that captivates and annoys us (most humorously). As rom-coms go, the movie is light years ahead of most, whether British, American or whatever country of origin. This is due to the diretor, a fellow named David Scheinmann (at left), an evidently well-known British photographer and music--video creator, here helming his first full-length film; to his splendid acting ensemble, who play together like the pros they are; and to the screenwriters (two of this ensemble: the director's brother, Danny Schneimann, and Sarah Sutcliffe).

The actors are all new to me and probably will be to you. All the better, then, to enjoy their novelty, ability and spontaneity. The movie begins by flashing forward and back in time, days and/or weeks before or after West Wittering, as the "event" has evidently come to be referred to. That event turns out to be kind of "date" arranged by one woman (Ms Stucliffe, below, left) to get to better know the young caterer, Jamie (played by Mr. Scheinmann, above) to whom she's become attracted. Another couple has been invited, but only one person, the female half (Rebecca Cardinale, below, right) shows up. Things go both badly and well, depending on how you view them -- which is pretty much true about everything that happens in this movie, consequently giving it such an interesting, "adult" edge.

The four characters, the last of whom is a therapist (played by David Annen, shown at right in the penultimate photo) involved with one of the women, are quite good at sizing up the other three. It's understanding themselves that gives them -- as it gives most of us -- such trouble, while peppering the movie with resonance and pizzazz. There's one other thing that distinguishes the film, but I hesitate to tell you what it is -- because, when I learn that a movie's been made in this manner, I tend to resist it from the outset. This is unfair, particulaly when a film works as well as does The WWA.  (You can learn what this "magical" ingredient is by watching the maybe 15-20 minute interview with the director that appears as a extra on the DVD. Scheinmann comes across as a very smart and intuitive guy, and what he has to say about his movie and how it was made is consistently interesting and vibrant. Listening to this interview (it's all audio, against a photo of the director) added immeasurably to my understanding and enjoyment of the film.)

I don't say this about very many movies, but The West Wittering Affair -- by tracking these characters as they attempt to create viable relationships -- flirts with profundity, even if it does not finally consummate it. But for a rom-com to make us laugh and entertain us so well, while locking us into its stories of these crazy but believable characters, and then make us consider seriously the ways in which our uses of sex and food and romance and loyalty conspire for and against us -- well, this is one hell of an achievement. Not to mention the smart, sharp style the director uses in his odd time shifts, his introduction of a men's sex therapy group, and finally the addition of that very important fifth character.

All of this brings up another interesting point: How did those guardians of our film culture let this movie slip past them?  While they were sleeping, another much less worthy filmmaker like Ben Wheatley got his two movies -- Kill List and Down Terrace -- praised to the skies. While these films are indeed "different," stylistically they both clunk and neither works that well in terms of simple credibility. Could it be that Wheatley's insistence on giving us the blood, gore, murder and mayhem that so many of us crave above all else, makes him a worthier object upon which to heap praise?  Just asking.

Meanwhile, track down The West Wittering Affair, watch it and weigh in. You can rent it, as did I, from Netflix (Blockbuster has it, too), or purchase or stream it from Amazon and elsewhere.
Whatever: See it.

Friday, May 25, 2012

Fifth annual FILMS ON THE GREEN festival spotlights free French films in NYC's parks

It's back -- and better than ever. This summer's edition of the annual FILMS ON THE GREEN festival, organized by the Cultural Services of the French Embassy, begins next Friday, June 1. For the fifth consecutive year, Films on the Green will present French films in New York City parks in June and July, as well as a special screening at Columbia University in September. The 2012 Films on the Green Festival will feature 8 free French screenings all adapted from French and American Literature. Through an array of different cinematic genres – thriller, comedy, drama, romance and musical -- the 2012 line-up includes films adapted from a wide range of literary styles, from fairy tale (“Donkey Skin”) to poetry (“The Snows of Kilimanjaro”) and graphic novel (“Persepolis”) – and highlights how great French directors like François Truffaut, Jacques Demy or Costa-Gavras have adapted certain works of literature to film.

The series begins on Friday June 1st in Central Park with the screening of the comedy, OSS 117: Cairo, Nest of Spies directed by the 2012 Oscar-winner (for The Artist) Michel Hazanavicius and featuring the two stars of that film: Bérénice Bejo (above, left) and additional Oscar-winning actor Jean Dujardin (above, right), who here plays a would-be James Bond who unfortunately possesses only a shred of the brain-power (but ten times the pomposity) of 007. Based on the series of novels “OSS 117” by French writer Jean Bruce (said to be the inspiration for the character of the famous Mr. Bond), the film provides an example of a literary (it's a bit of a stretch to call it that) adaptation from novel to screen.

The real highlight of this year's series, however, is the following week's film, to be shown in Washington Square Park, Greenwich Village, on Friday June 8th: The Snows of Kilimanjaro by one of the worlds most progressive filmmakers, Robert Guédiguan. Despite the film's title, forget Hemingway; this one's adapted from the Victor Hugo poem, “How Good are the Poor,” and it is a gem of movie-making. First shown in NYC last March, as part of the annual Rendez-vous with French Cinema series (my earlier review is here), the film ought have been immediately snapped up for U.S. release. Alas, no such luck, so if you want to see a remarkable movie about such important themes as family, love, employment, crime, justice, and what we owe our fellow man, this open air screening may be your only opportunity. Don't miss it. (The rest of this year's crop of films are easily available via DVD in the USA; this one, made just last year, is not.)

Friday June 15th will see the screening, also in Washington Square Park, of the famous family-movie, War of the Buttons (the 1961 version by Yves Robert), which was the first of four film adaptations of Louis Pergaud’s novel -- two of which arrived almost simultaneously last year in France, where they both did well at the box-office.

Screenings in Tompkins Square Park in the East Village will feature the dark thriller The Axe by acclaimed director Costa-Gavras, adapted from the bestselling novel by one of America's favorite authors, the late Donald Westlake, on Friday, June 22nd. This nifty little thriller with black comedic over- and under-tones tackles the western world's current employment crisis in a most intriguing fashion.

Also showing in Tompkins Square Park on Friday, June 29, will be one of Jacques Demy's most precious (in both senses of the word) films, the classic musical Donkey Skin based on the Charles Perrault fairy tale on Friday 28th. Next to Demy's one-of-a-kind musical The Young Girls of Rochefort, I think this is my favorite of all his work. It's enchanting, colorful and delightfully irreverent  -- oh, those horses! -- in a manner that nearly no one has managed before or since.

The festival continues in Riverside Park – Pier I, Upper West Side, on Friday July 6th with one of the great thrillers of our new millennium: Tell No One directed by Guillaume Canet from the novel starring François Cluzet (above, left), also known for his lead role in this year’s hit, Intouchables, makes a terrific everyman searching for his dead wife -- who's suddenly sending him emails.

Friday, July 13th, will serve up -- no, not a horror movie, although you could look it that way -- the black-and-white (with a bit of red now and then, and lots of luscious grays) animated film Persepolis by Marjane Satrapi and Vincent Paronnaud, which tells the story of Satrapi’s childhood in Iran and Austria. Tackling everything from fundamentalism to feminism to immigration, the movie is a surprisingly rich and thoughtful coming-of-age story.

The series will conclude on Thursday September 6th on the campus of Columbia University with an iconic film of La Nouvelle Vague, Jules and Jim by François Truffaut, presented in partnership with the Maison Française of Columbia University. If you've never seen this one, or haven't for a few years (or decades), now's your op.

All film screenings are held at dusk, and the films are in French with English subtitles, and are screened free of charge. A full film description is available by clicking on each film's title, above.

The youngest of the city's outdoor film festivals, Films on the Green is already a much-loved event of New York summers and is made possible with the cooperation of the New York City Department of Parks & Recreation. Last year the festival reached over 3,000 viewers and, with the support of its official sponsors, Air France, BNP Paribas and TV5 Monde, the 2012 series has expanded to feature eight classic or contemporary French films in five different locations. DJs from New York University’s radio, WNYU 89.1 FM, will spin tunes before screenings.


Here's the FILMS ON THE GREEN schedule at a glance:

All screenings are held at dusk

June 1 - 8:30pm OSS 117: Cairo Nest of Spies, Central Park – Cedar Hill (79th St. & 5th Ave.)

June 8 - 8:30pm The Snows of Kilimanjaro, Washington Square Park

June 15 - 8:30pm War of the Buttons, Washington Square Park

June 22 - 8:30pm The Axe, Tompkins Square Park

June 29 - 8:30pm Donkey Skin, Tompkins Square Park
            (that's Catherine Deneuve, in the photo above)

July 6 - 8:30pm Tell No One, Riverside Park – Pier I (at 70th St)

July 13 - 8:30pm Persepolis, Riverside Park – Pier I (at 70th St)

September 6- 7:30pm Jules and Jim, Columbia University – Low Library Steps

For more information about Films on the Green, simply click here.