Criterion Film Programme

The cinema at this year's ATP New York will be presented by the Criterion Collection and will run for the entire weekend. Please see below for more information on Criterion and a rundown of the films that will be screened...

"Music was meant to be played live, and movies were meant to be seen big.  It's a fact of life.  Criterion is thrilled to be back at ATP NY for the second year bringing you alternative programming to some truly great music.  It was a difficult decision trying to decide what movie might play against some of our favorite bands (would anybody really wanna see a movie while Deerhunter or Jesus Lizard is playing??) but hopefully we'll give you a reason to stop in the theater and watch a few things.  We're very happy to have Jim Jarmusch with us on Sunday to present his film MYSTERY TRAIN, followed by a Q&A.  We're looking forward to seeing the ATP MOVIE and the Lips CHRISTMAS ON MARS.  But we're also quite happy to show the magnificent DAYS OF HEAVEN, the crazy Japanese horror flick HOUSE, and Steve McQueen's intense film HUNGER (if you missed this in the theaters recently, here's your second chance.)  These are just a few of the films we'll be showing.  But, if you think coming to the Criterion theater means gathering around a television to watch DVD's, you've got it wrong.  Thanks to our friends at Panasonic, we went to great efforts to fit the biggest screen we could into the theater, along with a state of the art projector to show restored High Definition versions of some classic films the way they were meant to be seen:  big!"

Lee Kline
The Criterion Collection

During the festival we will also be presenting The Flaming Lips movie Christmas On Mars, and we are also very proud to present a screening of the long awaited All Tomorrow's Parties film from Warp X. For more information on the film and a trailer please see Our True

UPDATE - Dazed And Confused will also play on Sunday night.

Director: Billy Wilder
United States, 1951
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One of the most scathing indictments of American culture ever produced by a Hollywood filmmaker, Billy Wilder's ACE IN THE HOLE is legendary for both its cutting social critique and its status as a hard-to-find cult classic. Kirk Douglas gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter caught in dead-end Albuquerque who happens upon the story of a lifetime- and will do anything to ensure he gets the scoop. Wilder's follow-up to Sunset Boulevard is an even darker vision, a no-holds-barred expose that anticipated the rise of the American media circus.

Director: Allen Baron
United States, 1961
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Swift, brutal, and black-hearted, Allen Baron's New York City noir BLAST OF SILENCE is a sensational surprise. This low-budget, carefully crafted portrait of a hit man on assignment in Manhattan during Christmastime follows its stripped-down narrative with mechanical precision, yet also with an eye and ear for the oddball idiosyncrasies of urban living and the imposing beauty of the city. At once visually ragged and artfully composed, and featuring rough, poetic narration performed by Lionel Stander, BLAST OF SILENCE is a stylish triumph.

Director: Terrence Malick
United States, 1978
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One-of-a-kind filmmaker-philosopher Terrence Malick has created some of the most visually arresting movies of the twentieth century, and his glorious period tragedy DAYS OF HEAVEN, featuring Oscar-winning cinematography by Nestor Almendros, stands out among them. In 1910, a Chicago steel worker (Richard Gere) accidentally kills his supervisor and flees to the Texas panhandle with his girlfriend (Brooke Adams) and little sister (Linda Manz) to work harvesting wheat in the fields of a stoic farmer (Sam Shepard). A love triangle, a swarm of locusts, a hellish fire- Malick captures it all with dreamlike authenticity, creating at once a timeless American idyll and a gritty evocation of turn-of-the-century labor.

Director: Al Reinert
United States, 1989
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In July 1969, the space race ended when Apollo 11 fulfilled President Kennedy's challenge of "landing a man on the Moon and returning him safely to the Earth." No one who witnessed the lunar landing will ever forget it. Al Reinert's documentary FOR ALL MANKIND is the story of the twenty-four men who traveled to the moon, told in their words, in their voices, using the images of their experiences. Forty years after the first moon landing, it remains the most radical, visually dazzling work of cinema yet made about this earthshaking event.

Director: David Maysles, Albert Maysles and Charlotte Zwerin
USA, 1970
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Called “the greatest rock film ever made,” this landmark documentary follows the Rolling Stones on their notorious 1969 U.S. tour. When 300,000 members of the Love Generation collided with a few dozen Hell’s Angels at San Francisco’s Altamont Speedway, direct cinema pioneers David and Albert Maysles and Charlotte Zwerin immortalized on film the bloody slash that transformed a decade’s dreams into disillusionment.

Director: Stephen Frears
UK, 1984
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Terence Stamp is Willie, a gangster’s henchman turned “supergrass” (informer) trying to live in peaceful hiding in a remote Spanish village. Sun-dappled bliss turns to nerve-racking suspense, however, when two hit men—played by a soulless John Hurt and a youthful, loose-cannon Tim Roth—come a-calling to bring Willie back for execution. This stylish early gem from Stephen Frears boasts terrific performances from a roster of England’s best hard-boiled actors, music by Eric Clapton and virtuoso flamenco guitarist Paco de Lucía, and ravishing photography of its desolate Spanish locations—a splendid backdrop for a rather sordid story.

Director: Nobuhiko Obayashi
Japan, 1977
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Nobuhiko Obayashi's ecstatically deranged HOUSE (1977), a box office smash in Japan, is now one of the most coveted cult films to emerge from the fantastic realm of Asian cinema. Those who've seen their fair share of flying guillotines, lysergic Thai spaghetti westerns, and schoolgirl-with-machine-gun movies understand this is no easy feat. HOUSE is a haunted house movie and a comic teen romp about seven preternaturally happy and charming high school girls on summer vacation at an ailing aunt's remote estate. Imagine if 1970s Disney recruited Dario Argento to direct a Kristy McNichol tween/teen vehicle. There's Vaseline on the lens for idyllic moments, an evil house cat who convinces a piano to kill, and a disembodied head biting a girl on the ass. The special effects are mesmerizing and fascinatingly analog, and it's all accompanied by the most sugary bubblegum theme song ever. HOUSE is a movie hatched from a bizarre alternative universe where candy-coated acid dreams are the status-quo of popular culture. A rare opportunity not to be missed!

Director: Steve McQueen
United Kingdom, 2008
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A pair of bloodied hands immerse themselves in a basin. Contraband packages pass silently, imperceptibly between inmates and their loved ones in the visiting room of Her Majesty's Maze prison. And a young man of principle, delirious from starvation, bravely rallies against the dying of the light. These are among the strikingly impressionistic images that make up the masterful debut feature by Turner Prize-winning artist Steve McQueen- the deserving recipient of the Camera d'Or at the 2008 Cannes Film Festival. Though its primary subject is IRA member Bobby Sands and the 1981 hunger strike he waged in an effort to improve conditions for fellow political prisoners, McQueen's film, following the poetic-realist tradition of Terence Davies and Bill Douglas, is less a bio-pic than it is an intensely lyrical reverie on human suffering, the politics of torture, and the yearning for spiritual transcendence.

Director: Lindsay Anderson
United Kingdom, 1968
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Lindsay Anderson's IF.... is a daringly anarchic vision of British society, set in a boarding school in late-sixties England. Before Kubrick made his mischief iconic in A Clockwork Orange, Malcolm McDowell made a hell of an impression as the insouciant Mick Travis, who, along with his school chums, trumps authority at every turn, finally emerging as violent savior against the draconian games of one-upmanship played by both students and the powers that be. Mixing color and black and white as audaciously as it mixes fantasy and reality, IF.... remains one of cinema's most unforgettable rebel yells.

Director: Nagisa Oshima
Japan, 1976
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Still censored in its own country, IN THE REALM OF THE SENSES, by Japanese director Nagisa Oshima, remains one of the most controversial films of all time. A graphic portrayal of insatiable sexual desire, Oshima's film, set in 1936 and based on a true incident, depicts a man and a woman (Tatsuya Fuji and Eiko Matsuda) consumed by a transcendent, destructive love while living in an era of ever escalating imperialism and governmental control. Less a work of pornography than of politics, In the Realm of the Senses is a brave, taboo-breaking milestone.

Director: D. A. Pennebaker
United States, 1967
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On a beautiful June weekend in 1967, at the height of the Summer of Love, the first and only Monterey International Pop Festival roared forward, capturing a decade's spirit and ushering in a new era of rock and roll. Monterey would launch the careers of Jimi Hendrix, Janis Joplin, and Otis Redding, but they were just a few among a wildly diverse cast that included Simon and Garfunkel, the Mamas and the Papas, the Who, the Byrds, Hugh Masekela, and the extraordinary Ravi Shankar. With his characteristic vérité style, D. A. Pennebaker captured it all, immortalizing moments that have become legend: Pete Townshend destroying his guitar, Jimi Hendrix burning his. The Criterion Collection is proud to present this timeless document of a landmark event.

MYSTERY TRAIN - presented by JIM JARMUSCH with Q&A to follow
Diretor: Jim Jarmusch
United States, 1989
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The ghostly specter of Elvis Presley haunts the streets of Memphis, Tennessee in writer and director Jim Jarmusch’s MYSTERY TRAIN. Three disparate stories of foreigners making their way inthe birthplace of rock’n’roll—Japanese tourists make a pilgrimage to Sun Studios, an Italian widow makes arrangements to fly her husband's body to Rome, and a trio of hapless lowlifes hide out from a robbery gone bad—converge at a seedy motel which has been redressed as a “tribute” to The King. Featuring music legends Screamin’ Jay Hawkins, Rufus Thomas, Joe Strummer (and the voice of Tom Waits), MYSTERY TRAIN is Jarmusch’s brilliant examination of not only perhaps the most mythically “American” city, but what happens when connections and communications unravel.

Director: Wim Wenders
USA, 1984
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This unusual road movie, with screenplay by acclaimed playwright Sam Shepard, tells the tale of Travis, a man lost in his own private hell. Presumed dead for four years, he reappears from the desert on the Mexico border, world-weary and an amnesiac. He traces his brother Walt who is bringing up Hunter, his seven-year-old son, his ex-wife Jane having abandoned him at Walt's door several years before. As virtual strangers, Hunter and Travis begin to build a wary friendship and conspire to find Jane and bring her back to be a real family. With extraordinary performances from Harry Dean Stanton as Travis and Natassja Kinski as Jane, the film also boasts a soundtrack by Ry Cooder, ideally suited to the film's sun-bleached landscapes and melancholy undertones. PARIS, TEXAS is probably Wim Wenders' most well known, critically acclaimed, and successful movie, winning a number of international prizes including the Cannes Palme D'or for Best Film in 1984.

Director: Jean-Luc Godard
France, 1965
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Dissatisfied in marriage and life, Ferdinand (Jean-Paul Belmondo) takes to the road with the babysitter, his ex-lover Marianne Renoir (Anna Karina), and leaves the bourgeoisie behind. Yet this is no normal road trip: genius auteur Jean-Luc Godard's tenth feature in six years is a stylish mash-up of consumerist satire, politics, and comic-book aesthetics, as well as a violent, zigzag tale of, as Godard called them, "the last romantic couple." With blissful color imagery by cinematographer Raoul Coutard and Belmondo and Karina at their most animated, Pierrot le fou is one of the high points of the French New Wave, and was Godard's last frolic before he moved ever further into radical cinema.

Director: Jacques Tati
France, 1967
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Jacques Tati's gloriously choreographed, nearly wordless comedies about confusion in the age of technology reached their creative apex with Playtime. For this monumental achievement, a nearly three-year-long, bank-breaking production, Tati again thrust the endearingly clumsy, resolutely old-fashioned Monsieur Hulot, along with a host of other lost souls, into a bafflingly modernist Paris. With every inch of its superwide frame crammed with hilarity and inventiveness, Playtime is a lasting testament to a modern age tiptoeing on the edge of oblivion.

Director: Monte Hellman
United States, 1971
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Drag racing east from L.A. in a souped-up ‘55 Chevy are the wayward Driver and Mechanic (singer/songwriter James Taylor and the Beach Boys' Dennis Wilson, in their only acting roles), accompanied by a tagalong Girl (Laurie Bird). Along the way, they meet Warren Oates's Pontiac GTO-driving wanderer and challenge him to a cross-country race- the prize: their cars' pink slips. Yet no summary can do justice to the existential punch of TWO-LANE BLACKTOP. Maverick director Monte Hellman's stripped-down narrative, gorgeous widescreen compositions, and sophisticated look at American male obsession make this one of the artistic high points of 1970s cinema, and possibly the greatest road movie ever made.

Director: David Cronenberg
Canada, 1983
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When Max Renn goes looking for edgy new shows for his sleazy cable TV station, he stumbles across the pirate broadcast of a hyperviolent torture show called Videodrome. As he struggles to unearth the origins of the program, he embarks on a hallucinatory journey into a shadow world of right-wing conspiracies, sadomasochistic sex games, and bodily transformation. Starring James Woods and Deborah Harry in one of her first film roles, Videodrome is one of writer/director David Cronenberg's most original and provocative works, fusing social commentary with shocking elements of sex and violence. With groundbreaking special effects makeup by Academy Award-winner Rick Baker, VIDEODROME has come to be regarded as one of the most influential and mind-bending science fiction films of the 1980s.