46th Dance on Camera Festival, July 20-24, Lincoln Center

Between Yourself and Me--a documentary on the innovative immersive theater works of Third Rail Projects--will screen at the 46th Dance on Camera Festival this month at The Walter Reade Theater.

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For most of its 80 minutes, Lucinda Childs, Great Fugue by Beethoven (France, 2017) stays confined within the studio bubble, offering outsiders a dry, if rare, insider's view of the making of a contemporary ballet by one of the queens of New York postmodern dance. French filmmaker Marie-Hélène Rebois captures the choreographer at work with Lyon Opera Ballet to master the challenging surprises of a Beethoven piece. Dancers' sleek bodies skim across a tall, wide expanse of window panes in cool, fluid, friction-less partnering (which, with just a touch of daring, easily could have been rendered same-sex and gender-nonconforming). Happily, the final twenty-or-so minutes give us a handsome finished work--intricate for all its quiet lack of fuss; airy and shot through with light. World premiere Monday, July 23 (6pm) at the 46th Dance on Camera Festival, co-presented by The Film Society of Lincoln Center and Dance Films Association.

Also, check out the festival's world premiere of Between Yourself and Me (USA, 2017; 28m), co-produced with Dance Films Association, a look at acclaimed immersive theater troupe Third Rail Projects (Then She Fell) and Gravity Hero (USA, 2018, 70m), Trey McIntyre's reflection on his decision to shut down his successful, ten-year-old Boise, Idaho dance troupe.

Dance on Camera runs from Friday, July 20 through Tuesday, July 24 with all films screening at The Walter Reade Theater. For schedule information and tickets, click here.

The Walter Reade Theater
165 West 65th Street (between Broadway and Amsterdam Avenue), Manhattan

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Kick those blues: Glatzer's "Alive & Kicking" helps brighten our dark time

When it previews next month at the 45th Annual Dance on Camera, a festival co-presented by the Film Society of Lincoln Center and Dance Films Association, Susan Glatzer's Alive & Kicking (2016/USA) is sure to be a crowd-pleasing highlight. An expansive yet intimate look at contemporary swing dancing, the 84-minute documentary celebrates this practice and its community of freewheelers with their rollicking swing dance camps and competitions. Swing dancers depend on a network of international competitions to display their talents and build teaching careers, the only way they can monetize their artistry. The film depicts swing dance as a healing force in a society that has lost touch with touch itself--except where touch involves a fingertip and a screen. Glatzer eagerly argues for swing dance as a low-risk way to foster openness and trust between people of all kinds, a natural bridge across divides of race, ethnicity, gender, religion and politics.

The earliest moments of the film made me worry that Glatzer would confine her focus to young white people reclaiming a historic dance phenomenon that originated in Harlem's Black community, the product of Black genius and skill. But I'm glad I hung in with Alive & Kicking. Not only does this film respectfully address the Black roots of swing dance in Harlem's Lindy hop, but this history is often spoken for by Black dancers themselves, and the film lovingly includes clips of Frankie Manning, Lindy hop's great authority and ambassador, who passed in 2009. Glatzer's interviewees also note the scarcity of young Black swing dance students and performers today. They recognize the need to make their community an attractive, accessible source of opportunities for Black students and performers, an issue contemporary tap dance has also faced.

And, like tap, swing dance has a strong tradition of improv, of connecting with a new partner at one of those fun gatherings and the creative surprises those moments can hold. "You're sharing your imagination with someone else," says one of the dancers, and Glatzer shows us examples of first-time interplay between skilled dancers leading to mutual awe, gratitude and something quite a bit like love.

Alive & Kicking screens on Monday, February 6 (8:30pm) with Kristen Lauth Shaeffer's animated short, 349 (3 min). There will be a Q&A with Susan Glatzer. For tickets, click here.

For information about the complete Dance on Camera 2017 schedule of screenings and public events, click here.

Walter Reade Theater
165 West 65th Street (north side, upper level), Manhattan
(map/directions)

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NEWFEST LGBT film festival starts Friday

NEWFEST, New York City's festival of LGBT films, starts this Friday at Lincoln Center's Walter Reade Theater. Click here for complete program schedule and ticketing details.

Human Rights Watch Film Festival

Heroes, Villains and the Invisible 
Human Rights Watch Film Festival at Lincoln Center
by Stephen Holden, The New York Times, June 14, 2012

Filmmaker France tells the history of ACT UP [UPDATE]

How To Survive A Plague
USA 2012; 110 min.
directed by David France
A Sundance Selects release

Peter Staley in action. Photo: William Lucas Walker

That's Peter Staley--former Wall Street bond trader; later, ACT UP's rock-star activist--who not only talked the eloquent talk but walked the kickass walk along with many comrades, putting the media, pharmaceutical companies, medical researchers and politicians on notice that a community terrorized by AIDS was not going to sit quietly, simply hoping for attention and help. It was going to get in people's faces and demand the research and treatments it needed to survive.

David France's exhilarating and moving How to Survive A Plague relates the boisterous history of ACT UP--all the triumphs and missteps--with a personalizing focus on several of its leading activists. These include Staley and Mark Harrington as well as the late Bob Rafsky who died from AIDS complications in 1993. Rafsky will be remembered by most for his confrontation with presidential-hopeful Bill Clinton that led to the famous "I feel your pain" non-answer.

That scene, from a Clinton fundraiser, is highlighted in France's documentary along with many others that retell the progression of HIV/AIDS in New York's gay male community and that community's dramatic, intelligent responses. Although a sprinkling of women and people of color are shown or interviewed, France has concentrated on assembling footage and gathering oral history that reflect ACT UP as an initiative emerging from well-educated gay white men with an inherent sense of empowerment commensurate with their rage and compassion. Along the way, we do get to see and hear from female advocates and activists--media-savvy Ann Northrop, future journalist Garance Franke-Ruta and pharmaceutical chemist Iris Long, PhD, among a few others.

Essential history can easily be lost. In a climate of right-wing backlash, it can get twisted. New generations of social activists working on marriage equality, transgender rights, immigrant rights and many other progressive issues today need to learn about these shoulders upon which they stand. And we all need a blade of truth to disrupt the nasty fog of culture war that has arisen once again in our country.

[Update: Frank Bruni writes about this documentary in the March 17 New York Times--The Living After the Dying.]

See a screening of How to Survive A Plague at the 2012 New Directors/New Films Festival at the following locations:

Saturday, March 24, 9pm
Walter Reade Theater
165 West 65th Street (between Broadway and Amsterdam Avenue), Manhattan
(directions)

Monday, March 26, 6pm
Museum of Modern Art
11 West 53r Street (between 5th And 6th Avenues), Manhattan
(directions)

How to Survive A Plague Web site

How to Survive A Plague Facebook page

Information on New Directors/New Films