The Shining celebrates the 26th anniversary of its theatrical release today. Few films set the tone better for disturbing 1980s domesticity.
The Shining is, of course, Stanley Kubrick’s notorious adaptation of Stephen King’s novel, verging far from the author’s original work. Kubrick essentially took King’s central character (Jack Nicholson as Jack Torrance) and turned him from a weak man manipulated by a ghost into murderous behavior, into a violent monster who clearly detested his own wife and child. Something about all work and no play making Jack a dull boy… As discussed in the video essay below, King believed that it was Kubrick’s “inability to believe in the supernatural that kept the audience from believing in the world he had established.”
King’s dislike of Kubrick’s adaptation is no secret, and he’s gone on to name his favorite film adaptations of his work. In 2014 he told Rolling Stone that Stand By Me is tops, since it is “true to the book” and has the “emotional gradient of the story.” His other favorites? Shawshank Redemption, The Green Mile, Misery, Delores Claiborne and Cujo (trailers below). Stacked like that, it’s humbling to consider what King has given to cinema. But for those of us who are Kubrick and Shining devotees, it’s hard to deny its own auteuriol genius.
“But obviously people absolutely love it, and they don’t understand why I don’t. The book is hot, and the movie is cold; the book ends in fire, and the movie in ice. In the book, there’s an actual arc where you see this guy, Jack Torrance, trying to be good, and little by little he moves over to this place where he’s crazy. And as far as I was concerned, when I saw the movie, Jack was crazy from the first scene. I had to keep my mouth shut at the time. It was a screening, and Nicholson was there. But I’m thinking to myself the minute he’s on the screen, ‘Oh, I know this guy. I’ve seen him in five motorcycle movies, where Jack Nicholson played the same part.’ And it’s so misogynistic. I mean, Wendy Torrance is just presented as this sort of screaming dishrag. But that’s just me, that’s the way I am.”
From IFC Center and BAM to Film Forum and The Film Society of Lincoln Center, check out the 19 films to see this week around the city.
**MONDAY, APRIL 6**
NED RIFLE, Hal Hartley IFC Center
The third and final film in the Henry Fool trilogy. Henry Fool and Fay Grim’s son Ned sets out to find and kill his father for destroying his mother’s life. But his aims are frustrated by the troublesome, sexy, and hilarious Susan, whose connection to Henry predates even his arrival in the lives of the Grim family. A funny, sad, and sexy adventure, Ned Rifle is an intellectually stimulating and compassionate satire.
Harris and Kubrick kicked off their three-film winning streak with this ultra-tense heist film, in which a band of two-bit crooks pull an elaborate racetrack robbery—only to see their perfectly laid plan unravel after the job. Unfolding in an intricate flashback structure, this coolly ironic noir features hardboiled dialogue by Jim Thompson and memorable character turns by professional oddballs like Elisha Cook Jr. and Timothy Carey.
In this pulse-pounding Cold War espionage thriller, produced by Harris, a Russian officer (Bronson) is dispatched to the US to thwart a rogue KGB operative (Pleasence) activating brainwashed sleeper agents to kill Americans. Action auteur Don Siegel injects plenty of snap, crackle, and pop into this twist-filled spy-versus-spy yarn.
BEHIND CONVENT WALLS, Walerian Borowczyk The Film Society of Lincoln Center
Inspired by a passage in Stendhal’s Promenades dans Rome, Borowczyk’s first Italian production concerns the antics of a convent full of sexually repressed nuns. Deceptively frivolous, Borowczyk’s film is nevertheless a serious exploration of the relationship between flesh and spirit. Likened to Boccaccio by Alberto Moravia, Behind Convent Walls features striking handheld cinematography by Luciano Tovoli and the final performance of Borowczyk’s wife, Ligia Branice. Note: contains explicit sexual content.
STORY OF SIN, Walerian Borowczyk The Film Society of Lincoln Center
Based on the novel by Stefan Żeromski, Story of Sin is Borowczyk’s singular Polish feature film. Grażyna Długołęcka plays Ewa Pobratyńska, the doomed heroine whose passion for a married anthropology student takes her on a perilous journey across early-20th-century Europe. Casting a critical eye on the hypocrisy of the Catholic Church, Story of Sin counts as Borowczyk’s most passionate film, a delirious melodrama that reaches an ecstatic pitch. Nominated for the Palme d’Or at Cannes. Note: contains explicit sexual content.
(1916) Overwhelmingly spectacular follow-up to The Birth of a Nation, with Lillian Gish’s cradle-rocking tying together stories of Christ, the 16th century St. Bartholomew Day Massacre, the fall of Babylon, and a modern day story capped by the original car vs. train race to deliver the reprieve. This restoration features a lush orchestral score by Carl Davis. Approx. 167 min. DCP.
LOVE RITES, Walerian Borowcyzk The Film Society of Lincoln Center
Borowczyk’s final feature returns with a vengeance to a signature theme—emasculation. Vain clothing buyer Hugo (Mathieu Carrière) meets beautiful Myriam (Marina Pierro) on the Metro and pursues her, discovering to his delight that she’s a prostitute. The crafty Myriam, of course, has more in mind for their encounter than smug Hugo bargained for. Though perhaps less graphic than Borowczyk’s best-known works, Love Rites nevertheless turns the sexual tables with perverse exactitude. Note: contains explicit sexual content.
LULU, Walerian Borowczyk The Film Society of Lincoln Center
Based on the Lulu plays by Frank Wedekind (which formed the basis for G.W. Pabst’s Pandora’s Box), Borowczyk presents a terse, stripped-back account of the eponymous antiheroine. Filmed in a series of stylized sets designed by the director himself, Lulu is as cool as an erotic fantasy played out inside a doll’s house. Anne Bennent puts her stamp on the role immortalized by Louise Brooks, and Udo Kier memorably turns up as Jack the Ripper. Note: contains explicit sexual content.
THAT GUY DICK MILLER, Elijah Drenner Anthology Film Archives
You know the face, and have heard the voice, but just can’t figure out where. The character actor’s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.
“A popular Los Angeles TV reporter is given doctor’s orders to visit a remote consciousness-raising retreat called ‘The Colony’ after a traumatic incident with a serial killer. The bizarre behavior of the residents begins to make sense once the reporter discovers that she is staying amidst a community of werewolves! THE HOWLING is not only a great werewolf movie, but also a witty and knowing commentary on the genre itself. The film is as full of impressive werewolf transformation scenes as of social satire, which is no surprise given that the special effects were done by Rob Bottin (THE THING) and the screenplay was written by John Sayles.” –THE WEXNER CENTER
BAMcinématek and LIU present the winner of the inaugural George Polk Documentary Film Award, an extraordinary, visceral film that dives into the Syrian resistance with a frenzied immediacy, intimately capturing two friend’s haunting battle cry for justice. As a siege takes hold in Homs, friends Basset and Osama gather a circle of brave but inexperienced insurgents, determined to protect the city’s captive civilians and help them get out of the warzone. In a standoff reminiscent of David and Goliath, a handful of stranded amateur fighters hold out against the snipers, tanks, and mortars of the Syrian Army while their city crumbles around them.
THE BEAST, Walerian Borowczyk The Film Society of Lincoln Center
Bestial dreams interrupt the venal plans of a French aristocrat attempting to save a crumbling mansion by marrying off his deformed son to a horny American heiress. Drawing on the legends surrounding the beast of Gévaudan, Prosper Mérimée’s novella Lokis and Freud’s Wolf Man, The Beast is an erotic black farce hell-bent on trampling every pretense of good taste. In The Beast, the only decorum and restraint is to be found in Scarlatti’s harpsichord music. Note: contains explicit sexual content.
A BUCKET OF BLOOD, Roger Corman Anthology Film Archives
In his most famous (and regrettably one of his very few) starring roles, Miller shines as Walter Paisley, an aspiring beatnik who stumbles on art-world success when he accidentally kills his landlady’s cat and, on a whim, covers it in clay. After passing the result off as a genuine sculpture he’s proclaimed an artistic genius. But soon he finds himself pursuing increasingly desperate and horrific means to produce new sculptures and maintain his artistic glory. A BUCKET OF BLOOD is an ingenious satire of counter-cultural pretension, and among the highpoints of Corman and Miller’s careers.
(1959) “I’m going up and up and up. And no one’s going to pull me down!” When single mother Lana Turner loses her daughter (eventually growing up to be Sandra Dee) at Coney Island, she winds up finding equally husband-less African American mother Juanita Moore and budding photographer John Gavin, gaining both a loyal domestic and Faithful Friend. But then the betrayals multiply, as Turner single-mindedly pursues Broadway super-stardom — while blind to Dee and Gavin getting overly-chummy — and Moore’s daughter Susan Kohner (“giving one of the most desperate performances in Sirk’s work” — David Thompson) breaks her mother’s heart by “passing for white.” Sirk’s remake of a Fannie Hurst tear-jerker (films in 1934 with Claudette Colbert) was one of its studio’s biggest hits ever and the director’s farewell to Hollywood, subconsciously symbolized by its grandiose final funeral, featuring gospel great Mahalia Jackson. With competing Best Supporting Actress nominations for Moore and the in-life Hispanic/Jewish Kohner. This new 4K restoration showcases the lush Technicolor cinematography of Russell Metty, who’d shot the supremely b&w Touch of Evil only a year before. Approx. 124 min. DCP.
THE MOST DANGEROUS GAME, Ernest B. Schoedsack MoMA
1932. USA. Directed by Ernest B. Schoedsack, Irving Pichel. Screenplay by James Ashmore Creelman, from the story by Richard Connell. With Joel McCrea, Fay Wray, Robert Armstrong, Leslie Banks. The first and most famous adaptation of Richard Connell’s 1924 short story casts a young, not-quite-formed McCrea as a famous big game hunter who finds himself washed ashore on a tropical island controlled by a mad Russian count (Leslie Banks) who enjoys a good hunt himself. Produced by Ernest B. Schoedsack and Merian C. Cooper, and shot at the same time as their King Kong—with which the film shares cast members Fay Wray and Robert Armstrong, several sets, and a lively sense of primitive urges. 63 min.
IMMORAL WOMEN, Walerian Borowczyk The Film Society of Lincoln Center
A film in three parts that brings together tales of women in different historical epochs who use their sexuality to triumph over the men that oppress them. In the first, set in Renaissance Rome, a baker’s daughter (Borowczyk muse Marina Pierro) models for a Vatican artist and pits him against a grotesque moneylender. The second episode charts the revenge of a Belle Époque teenager (Gaëlle Legrand) when her parents decide that her relationship with her pet bunny is too close for comfort. Finally, in modern-day Paris, a woman (Pascale Christophe) is kidnapped, and her husband proves less loyal than her beloved Doberman. Borowczyk brazenly explores motifs of bestiality, bourgeois moralism, and wanton revenge. Note: contains explicit sexual content.
The movie version of Sun Ra’s concept album features the legendary avant-garde jazz musician and mystic in his only fictional film appearance. Rejecting a linear plot in favor of a mélange of interplanetary travel, sharp social commentary, goofy pseudo-Blaxploitation stylistics, and thrilling concert performance, this kaleidoscopic, hugely entertaining adventure is a wild ride.
HOLLYWOOD BOULEVARD, Joe Dante and Allan Arkush Anthology Film Archives
The directorial debut of both Joe Dante (THE HOWLING, GREMLINS) and Allan Arkush (ROCK ‘N’ ROLL HIGH SCHOOL), this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman’s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD’s Walter Paisley!
2010. Iran. Directed by Abbas Kiarostami. With Juliette Binoche, William Shimell. Author James Miller travels through Italy promoting his book about the original versus the copy. At a meet-and-greet, James is taken with a beautiful French woman, and they agree to meet again and visit a romantic Tuscan city. As their relationship begins to blossom, hidden secrets begin to percolate. In French, English, Italian; English subtitles. 106 min.
With the 87th Academy Awards commencing this Sunday, we’re reminded that artistic merit does not always mean taking home a gold statue. Simply because a film wins the award of Hollywood’s elite, does not be that it creatively surpasses its contemporaries. And just because a film goes unrecognized by the Academy, the lack of appreciation in that regard says little to what it deserves. This year, director Ava DuVernay went sans nomination for Selma, but over the course of cinematic history, few categories have caused as much of a stir as Best Director. From Stanley Kubrick and Wim Wenders to Ingmar Bergman and David Lynch, some of the last century’s most brilliant artists have failed to move past a nomination, if even given that—which, of course, speaks namely to the politics of Hollywood and not to their respective genius. So, to get you thinking about who will find themselves with arms full of gold on Sunday, here are some of film’s most beloved and talented directors who’ve never garnered the coveted Academy Award for Best Director.
Cinematic Obsessions: CasualVoyeurism, Everyday Detectives, Seedy Underbelly’s Lurking Behind Pleasant Facades, What’s Hiding Behind the Red Curtains, Flesh on Flesh, 1950s Music and Ephemera, Psycho-Erotic Discomfort, Multiple Personalities, Saccharine Indulgences, Trout, Coffee, The Mysteries of Love, The Secret of Night Best Director Nominations:Mulholland Drive, Blue Velvet, Elephant Man Best Films: Mulholland Drive, Blue Velvet, Wild at Heart
Cinematic Obsessions: Man versus Technology, Man versus Himself, The Theatrics of Violence, Psychological Journeys Through the Use of Color, Meticulous Planning and Shooting, Psychosexual Aggression Best Director: Barry Lyndon, A Clockwork Orange, Dr. Strangelove or: How Learned to Stop Worrying and Love the Bomb, 2001: A Space Odyssey Best Films: A Clockwork Orange, Dr. Strangelove or: How Learned to Stop Worrying and Love the Bomb, Eyes Wide Shut, The Shining
Cinematic Obsessions: Dramatic Musical Cues, Languid and Beauitful Slow-Motion Shots, Wresting Weary Heads on Shoulders in the Back of Taxis, Endless Romantic Yearning, Food, Lonesome Cigarette Smoking, Deep and Impressionist Use of Color, The Torture of Love, Heartbreaking Matters of Timing Best Director Nominations: None Best Films: In the Mood for Love, Chungking Express, 2046
Cinematic Obsessions: The Great American West, Existential Romantic Longing, The Barriers of Human Connection, Transient Spaces, Child/Parent Dynamics, The Psycholoigcal Effects of Neon, Spirituality and a Nostalgic Longing for an Absent Something, Emotional Isolation Best Director Nominations: None Best Films:Paris, Texas, Wings of Desire, Alice in the Cities, Pina
Cinematic Obsessions: Exposed Realism, Psycho-Dramatic Character Studies, New York City Streets, Manicly Delivered Male Monologues, Exposure of Social/Societial Injustice/Disorder Best Director Nominations:The Verdict, Network, Dog Day Afternoon, 12 Angry Men Best Films: Dog Day Afternoon, Network, Serpico, 12 Angry Men
Cinematic Obsessions: Existential Questioning of Faith and Mortality, Female Sexuality and Desire, Looming Presence of Death, Moral Quandries and Crisis, Psychological Horror Best Director Nominations: Fanny and Alexander, Autumn Sonata, Face to Face, Cries & Whispers, Through a Glass Darkly, Wild Strawberries Best Films: Persona, The Seventh Seal, Wild Strawberries, Cries & Whispers, Scenes from a Marriage, Winter Light
Cinematic obsessions: Wheat fields Gently Blowing in the Wind at Magic Hour, Sweeping Philosophical Voiceovers, The Confounding Nature of Existence, The Evils of Man, The Divine Presence in Everyday Life, Examining Humility and Grace Through Love, Man’s Existence with Nature Through Time, Redemption and Forgiveness Best Director Nominations: The Tree of Life, The Thin Red Line Best Films: Days of Heaven, Badlands, The Tree of Life
Cinematic Obsessions: Rotating Character Studies, Emphasis of Atmosphere and Personalities Over Narrative Structure, Improvisation of Script, Multiple Plotlines, Intersection of Worlds, Music as a Driving Force Best Director Nominations:Gosford Park, Short Cuts, Nashville, MASH, The Player Best Films: 3 Women, The Long Goodbye, Nashville, McCabe & Mrs. Miller, MASH, Gosford Park
Cinematic Obsessions: The Psyche of Men, Matters of the Heart, The Struggle and Pain of Human Relationships, Alcohol, Volatility of Emotion, Expression of the Artistic Self, Characterization, Raw Performance, Love Best Director Nominations:A Woman Under the Influence Best Films: A Woman Under the Influence, Opening Night, Faces, The Killing of a Chinese Bookie
Cinematic Obsessions: Surrealist Imagery, Exposure of Cinematic Experimentation, Bourgeois Dinner Parties That Never Go As Planned, Satiristic Comedies of Fantasy, Criticism of Morals and Religion, Mocking of the Church, Nonsynchronous Music Nominations for Best Director:The Obscure Object of Desire, The Discreet Charm of the Boregeoisie Best Films: The Exterminating Angel, The Discreet Charm of the Bourgeois, Un Chien Andalou, Belle Du Jour
Cinematic obsessions: The Audience as a Voyeur, The Charms of Sociopathy, A Little Murder After Supper, Mommy Complexes, The Relationship Between Sex and Death Nominations for Best Director:Psycho, Rear Window, Spellbound, Lifeboat, Rebecca Best Films: Spellbound, Vertigo, North by Northwest, Rebecca, Psycho
My first viewing of Stanley Kubrick’s Eyes Wide Shut took place on my mother’s bed when I was nine years old. She had dozed off somewhere in the beginning but I stayed engrossed—both frightened and pleased—completely in awe of what I was watching. It would be a few more years before I saw A Clockwork Orange, to be followed by the rest of his magnificent oeuvre, but it was always that first film that struck me the most and had a profound effect on my own artisitc and aesthetic sensibilities. However, Kubrick’s black comedy Dr. Strange Love or: How I Learned to Stop Worrying and Love the Bomb has remained one of his most acclaimed and beloved films since its 1964 release. And with a title that wonderful its hard to imagine it wasn’t the only working name for the project—but in true Kubrick fashion, he probably had boxes full of titles for each of his films. And now thanks to Endpaper, we get a closer glimpse into the director’s mind with his brainstorming process revealed by a journal entry from the early 60s in which he has sketched out the alternate titles for the film.
Here’s a list of the titles:
Don’t Knock the Bomb
Dr. Doomsday and his Nuclear Wiseman
Dr. Doomsday Meets Ingrid Strangelove
Dr. Doomsday or: How to Start World War III Without Even Trying
Dr. Strangelove’s Bomb
Dr. Strangelove’s Secret Uses of Uranus
My Bomb, Your Bomb
Save The Bomb
Strangelove: Nuclear Wiseman
The Bomb and Dr. Strangelove or: How to be Afraid 24hrs a Day
As infamously controversial as it has been lauded and made iconic throughout the last half-century, Stanley Kubrick’s A Clockwork Orange did not always belong to the celebrated auteur. Before he had signed on to direct the feature, in 1968 producer Si Litvinoff had his eye on a handful of directors whom he approached to helm the film—from Roman Polanski to Ken Russell to Nicolas Roeg—the Terry Southern-penned script floating through the hands of Hollywood. Another one of the names in the directing hat was John Schlesigner, who would go on to make the wonderful dramas Midnight Cowboy, Sunday Bloody Sunday, Marathon Man, and more. But although a brilliant director of emotionally painful and progressive films, it’s almost impossible to imagine his muted color and rawly expressive edge imposed upon the dystopian future ultra-violence world of A Clockwork Orange.
Kubrick, with his affinity for exposing the man’s natural inclination towards evil and telling a story through the psychological undercurrent of color, as a perfect fit for Anthony Burgess’ novel, and just as difficult it is to see the film through another’s eyes, it’s just as strange to imagine anyone else playing the role of Alex DeLarge more perfectly than Malcolm McDowell. But thanks to Letters of Note, we learn that Litvinoff sent Schlesigner a letter expressing his interest in having him direct—giving him the draft and novel to look over—saying, that for the lead role, Mick Jagger and David Hemmings (recently attractive for his role in Antonioni’s Blowup) were keen on playing Alex, with The Beatles very interested in doing the music for the film.
"With regard to A CLOCKWORK ORANGE, we have in mind juxtaposing the "Nasdats" (in a futuristic-Edwardian look) and their unique language, against a totally science-oriented society (with their own attitudes and language). The "Nasdats" would thus be the equivalent of that age’s Renaissance men. Only in prison, where exposure to this new life is limited, is there "normal" life and "normal" language. This has not been treated in the first draft which is just a point from which to take off. This film should break ground in its language, cinematic style and its soundtrack."
Well, now. Let’s just take a moment of our day to imagine that cinematic world, one sans Wendy Carlos’ absolutely brilliant classical moog music score, with Schlesigner behind the camera, and either Hemmings or Jagger in the iconic role dressed in white. You can check out the rest of the letter HERE, as well as Jagger-lovers’ “vehemently” unhappy reaction to Hemmings being favored for the role ahead of Mick.
English writer, director, and actor Terence Davies has given us a wealth of emotionally devastating films—from Distant Voices, Still Lives to The House of Mirth and last year’s The Deep Blue Sea. When we spoke with Rachel Weisz (who starred in his latest film) she talked about how Davies grew up on on films like Brief Encounter and actresses like Bette Davis or Barbara Stanwyck—stories about women getting to be strong and powerful and complex, which has seeped its way into his work. But those aren’t the only stories he’s interested in. And thanks to Cinephilia and Beyond and The Seventh Art, a rare clip of Davies introducing Stanley Kubrick’s first masterpiece 2001: A Space Odyssey for TV has been brought to our attention. Spencer Everhart writes:
A bit of an oddity today: the introduction to a television broadcast of Stanley Kubrick’s 2001: A Space Odyssey (1968) on BBC2′s The Film Club from director Terence Davies…Davies is strikingly accompanied by images from the film, a blank black background, and an imposing set light. 2001 was the last in a programme of Kubrick films on the screening series and Davies cites it as his personal favourite. One incredible aspect of the series was its commitment to show the film in its widescreen aspect ratio, which Davies makes a point of celebrating.
So yes, I would recommend taking four minutes and nineteen seconds out of your day to watch this delightful gem.
Stephen King’s anticipated (anticipated? sure) sequel to his 1977 horror novel The Shining hits bookstores… well, let’s be honest, it’s going to hit Amazon.com this September. Titled Doctor Sleep, the novel will follow grown-up Dan Torrence and his relationship with a psychic twelve-year-old girl. The novel’s Wikipedia page ensures that it’ll involve an epic battle of good and evil. FIne; Stephen King wrote the book that inspired the excellent Stanley Kubrick film, so let him go ahead and write a companion to his original story. The rest of us—those who know the movie is better than the book—can go on with the understanding that the film is a stand-alone piece of perfection. Of course, it’s so popular that it has also inspired a prequel; former Walking Dead showrunner Glen Mazzara will write the script for Warner Bros’ upcoming The Overlook Hotel. Which is the worst idea? I think it might be sort of a tie.
I don’t know about you, but I fully intend on spending my weekend curled up with a box of Junior Mints in a darkened theatre. It’s been a long week thus far and with the myriad premieres and screenings going on over the new few days, you really have no excuse to not get yourself into a cinema. From Antonio Campos and Shane Carruth’s stunning sophomore efforts to Terrence Malick’s latest poem of emotions, to the wonder of Dennis Hopper and the debut of Darren Aronofsky, there’s a certainly a diverse mix of films to see. So to get you ready, I’ve compiled the best of what’s playing around the city this weekend—take a look and go buy yourself some candy and/or popcorn. Enjoy.
Well, it’s finally Friday and before you retreat to your bed or bar, it’s probably in your best interest to hit up a few of the wonderful films showing this weekend first. If you missed last night’s screening of Upstream Color at Lincoln Center, don’t panic, there’s still another showing before it’s theatrical release next Friday. And if you’re still deep into the IFC-induced Kubrick craze, what a better time to see Room 237, which is screening at multiple theaters this weekend alongside The Shining. Today also marks the premiere of Derek Cianfrance’s tragic epic The Place Beyond the Pines, which is certainly not to be missed. In addition, some of your other favorites from Leviathan to Stoker are still playing, as well as a sprinkling of classics from Hitchcock to Godard. I’ve rounded up the best films showing around the city for you to peruse and enjoy.