Pennebaker_PH neu

01.-17.01.2016: Dont look back
Pennebaker & Hegedus: Pop on screen
Das Babylon startet mit dem Festival „Dont look back. Pennebaker & Hegedus: Pop on
screen“ ins neue Jahr: Vom 1. bis zum 17. Januar 2016 sind Stars wie Bob Dylan, Jimi
Hendrix, David Bowie, Depeche Mode, Marius Müller-Westerhagen und Politikonen wie Bill
Clinton und Robert Kennedy in wegweisenden Dokumentarfilmen der Regielegende D. A.
Pennebaker und seiner Partnerin Chris Hegedus auf der großen Leinwand zu sehen.
Insgesamt besteht das Programm aus 18 Lang- und 10 Kurz-Dokumentarfilmen.
Der Oscar-Preisträger Michael Moore charakterisierte Pennebaker in seiner Laudation zu
den Governor Awards 2012 als: „The man who invented nothing less than the modern
documentary. … No script! Pennebaker’s idea was: you would write the movie after you
shot it. This was anarchy, madness!” Pennebaker habe provokative und zugleich auch
unterhaltsame Dokumentarfilme gedreht, die dem Medium Film gerecht wurden und
Kunst waren.
Als Wegbereiter des Direct Cinema hat Pennebaker nach ersten Kurzfilmen in den 1950er
Jahren die Atmosphäre und den Aufbruch der Sechziger kongenial mit neuen filmischen
Mitteln gebannt. Mit einer neuen beweglichen 16mm Synchrontontechnik vermittelte er
den Zuschauern das Gefühl, unmittelbar und auf Augenhöhe dabei zu sein. Er selbst
spricht von persönlicher Geschichtsschreibung, von Filmen, die niemand verlangte.
Aufgrund seiner Unabhängigkeit konnte er schnell auf Themen und Persönlichkeiten
reagieren, die ihn interessierten. Die Ästhetik und Produktionsweise wirkt bis heute: Auch
in „Victoria“ von Sebastian Schipper heftet sich die Kamera immer dicht an die Fersen
der Protagonisten.
Seinen Ruf als Musikfilmmacher begründete Pennebaker mit „Dont Look Back“, das
Portrait des 24-jährigen Bob Dylan, der sich allen Vereinnahmungen widersetzte und sich
1965 während seiner Großbritannien-Tour in einem künstlerischen Umbruch befand.
Pennebaker gelang ein filmisches Spiegelbild der Popikone, erfolgreich in den Kinos, von
manchen Kritikern zerrissen: “This is a cheap, in part, dirty movie, if it is a movie at all.
[...] It is certainly not for moviegoers who bathe and/or shave. It is „underground“ and
should be buried as once [...] Phew!“ (Cleveland Plain Dealer)
Das Monterey International Pop Festival in Kalifornien 1967 war der musikalische Auftakt
der Hippiekultur. Einer der Mitorganisatoren, der Musikproduzent Lou Adler, hatte die
Idee, dass auch ein Film über das Festival entstehen sollte, um damit den Wert dieser
Rockmusik zu beweisen. Pennebaker hatte sich für diese Aufgabe durch sein Dylan
Portrait ausgezeichnet. Ihm gelang mit seinem Film „Monterey Pop“, das was eine
Festivalbesucherin über die ganz besondere Atmosphäre sagte: „The vibration is flowing
everywhere”. „Monterey Pop“ trug dazu bei, die Karriere von Musikern wie Jimi Hendrix
und Janis Joplin zu befördern.
Der Oscar-nomierte „War room“: Anfang der 1990er Jahre stand Bill Clinton, der erste
Präsidentschaftskandidat der Rockgeneration, im Zentrum des filmischen Interesses von
Pennebaker und Hegedus. 1992 während der US-Präsidentschaftswahlen Clinton vs. Bush
gelang dem Filmteam ein aufschlussreicher, bisweilen fast intimer Zugang zu dessen
„War room“ genannter, für die Öffentlichkeit gesperrter Wahlkampfzentrale. Der
Präsidentschaftskandidat ist wie durch einen Spiegel erlebbar durch seine zwei
Masterminds, dem Chef-Wahlkampfstrategen James Carville und den
Kommunikationsdirektor George Stephanopoulos. Clintons Team gelangen neue
Kampagnen-Maßstäbe. Carville prägte den inzwischen Geschichte gewordenen Ausspruch
„It’s the economy, stupid!“. Bezogen auf die kommenden US-Wahlen 2016 klingt ein Satz
aus einer Rede von Bill Clinton über seine Frau Hillary nahezu prophetisch: „Sie wird die
einflussreichste Frau des Präsidenten in der Geschichte der USA“.
TIMOTHY GROSSMAN, Babylon Geschäftsführer: „Die Kunstwelt in den 1960er Jahre ist
explodiert und bis heute sind wir damit beschäftigt, die Einzelteile wieder einzusammeln.
Diesen tatsächlichen Kulturbruch erleben wir mit den Pennebaker Filmen.“
Dont Look Back
USA 1967, R: D.A. Pennebaker mit Bob Dylan, Donovan, Joan Baez, Allen Ginsberg,
Marianne Faithfull, 96 Min, OmU
Auf Schritt und Tritt mit der Kamera dabei: Der 24-jährige Bob Dylan während seiner
umjubelten Großbritannien-Tournee im Jahr 1965 und seiner legendären Konzerte in der
Royal Albert Hall in London. Dylan befand sich in einer Phase des künstlerischen
Umbruchs, wehrte sich gegen Vereinnahmung und entlarvte überzogene Reaktionen
seiner Umwelt bis ins Groteske: Z.B. mit einer Nonsens-Aktion auf einer
Pressekonferenz, als er eine übergroße Glühbirne vor sich legte und auf
Journalistenfragen dazu absurde Antworten gab.
Die berühmte erste Sequenz von „Dont Look Back“, die als ein Vorläufer des Musikvideos
gilt, ist mehrfach zitiert worden: Zum Song „Subterranean Homesick Blues“ hält Dylan
Papptafeln in die Kamera, die einzelne Wörter des Textes enthalten. Der Filmtitel „Dont
Look Back“ ist ein Textfragment des Songs „She belongs to me“
I’M JUST A GUITAR PLAYER…
BOB DYLAN
As far as I’m concerned, it was never meant to be a documentary. … It may not be so
much about Dylan because Dylan is sort of acting throughout the film... and that’s his
right… He had to be extraordinary where most of us settle for just being adequate.
D.A. Pennebaker
01.01. 20 Uhr, 02.01. 22.15 Uhr, 08.01. 21.15 Uhr, 09.01. 22 Uhr, 15.01. 20 Uhr
Monterey Pop
USA 1968, R: D.A. Pennebaker mit Janis Joplin, Jimi Hendrix, The Mamas and the Papas,
The Who, Ravi Shankar, 79 Min, OV
Das Monterey International Pop Festival in Kalifornien 1967 war der musikalische Auftakt
der Hippiekultur. Einer der Mitorganisatoren, der Musikproduzent Lou Adler, hatte die
Idee, dass auch ein Film über das Festival entstehen sollte, um damit den Wert dieser
Rockmusik zu beweisen. Pennebaker hatte sich für diese Aufgabe durch sein Dylan
Portrait ausgezeichnet. Ihm gelang mit seinem Film „Monterey Pop“, das was eine
Festivalbesucherin über die ganz besondere Atmosphäre sagte: „The vibration is flowing
everywhere”. „Monterey Pop“ trug dazu bei, die Karriere von Musikern wie Jimi Hendrix
und Janis Joplin zu befördern.
The Monterey Pop Festival ran for three days in June 1967. For most of the five shows,
the arena was jammed to bursting with perhaps as many as 10,000 people. The live
performances were spectacularly successful. Janis Joplin, who was singing with Big
Brother and the Holding Company, pulled out all the stops with a raw, powerful
performance that helped establish her as the preeminent female rock singer of her day.
The Who climaxed a brilliant set by smashing their equipment at the conclusion of “My
Generation.” Jimi Hendrix (in the American debut of the Jimi Hendrix Experience) offered
an awesome display of his virtuosity as a guitarist and as a showman, humping his
Marshall amplifiers and then setting his Stratocaster ablaze. Another highlight was Ravi
Shankar’s meditative afternoon of Indian ragas.
01.01. 22 Uhr, 07.01. 20 Uhr, 08.01. 22 Uhr, 12.01. 21.45 Uhr
Jimi Plays Monterey
USA 1986, R: D. A. Pennebaker, Chris Hegedus, David Dawkins mit Jimi Hendrix, 50 Min,
OV
Shake - Otis at Monterey
USA 1987, R: D. A. Pennebaker, Chris Hegedus, David Dawkins mit Otis Redding, 20 Min,
OV
Insgesamt 70 Min
In 1967, Jimi Hendrix’s electrifying performance at the Monterey Pop Festival launched
his musical career in the States. This film showcases Hendrix’s complete festival
performance with archival footage of his debut in the U.K.with his new band The Jimi
Hendrix Experience. John Phillips of the Mama’s and Papa’s narrates Jimi’s rise from
Jimmy James and the Blue Flames to his shocking performance at Monterey.
“The American debut of the Jimi Hendrix Experience at Monterey on June 18th, 1967, is
still a revelation, an orgasmic explosion of singing feedback, agitated stretches of jazzy
improvisation and recombinant R&B guitar.”
(David Fricke, Rolling Stone Magazine)
The Monterey concert 1967 reflects Otis Redding at the peak of his career, only months
before a fatal plane crash took his life.
“Well-shot vintage soul performances are as scarce as chitlins on Wall Street, and though
these 20,000 white protobohemians weren’t exactly Redding’s hippest audience, he was
definitely out to prove something to ‘the love crowd.’”
(Robert Christgau, The Village Voice)
02.01. 24 Uhr, 04.01. 20 Uhr, 17.01. 17.30 Uhr
John Lennon and the Plastic Ono Band: Sweet Toronto
USA 1971, R: D. A. Pennebaker mit John Lennon, Yoko Ono, Eric Clapton, Chuck Berry,
Little Richard, 50 Min, OV
Little Richard USA 1991, R: D. A. Pennebaker mit Little Richard, 29 Min, OV
Victoria Williams – Happy Come Home USA 1997, R: D. A. Pennebaker, Chris
Hegedus mit Victoria Williams, 28 Min, OV
Insgesamt 107 Min
When John Lennon and Yoko Ono heard that we were going to film a Rock & Roll
concert in Toronto, they decided to show up. And how they showed up was surprisingly
personal. Yoko hiding under a sheet shouting out a wordless flow of outcries and John, a
little drugged, singing Cold Turkey and daring the audience not to adore his new partner.
They finished their set with “Give Peace a Chance,” and, adjusting their amps to full
feedback volume, the Plastic Ono band with Eric Clapton and Klaus Voorman disappeared
leaving a speechless audience, the roar of a DC3 ready to take off, and scraps of paper
blowing about the stage — an incredible end of the Beatles. - D. A. Pennebaker
When I heard that Little Richard, one of the four rock legends who had influenced the
British rock scene (the Beatles originally opened for Little Richard) were appearing
together in Toronto, I knew we had to film them. A flamboyant Little Richard, hair styled
three inches high with pomade, appeared on stage in a mirrored jumpsuit and belted out
his signature hits including: “Bama Lama Bama Loo”, “Tuiti Fruiti,” and “Lucielle”
mesmerizing the audience and cementing his reputation as one of the Kings of Rock and
Roll. - D A Pennebaker
David Geffen asked us to make a short video portrait of Victoria Williams, whose first
record he was about to release. He wanted radio stations to see what she looked like.
So we took her back home to Louisiana and made a half-hour film with her that we
loved.
But when David saw it he said, “That’s not what I had in mind. You’ll have to cut it
down.” But we liked it the way it was. And we said we’d buy it back. And we did. And by
now her songs and the film have been all over the world. – D. A. Pennebaker and Chris
Hegedus
01.01. 22.30 Uhr, 02.01. 20 Uhr, 05.01. 20 Uhr, 14.01. 22 Uhr, 15.01. 22 Uhr
Ziggy Stardust and The Spiders From Mars
UK 1973, R: D. A. Pennebaker mit David Bowie, Mick Ronson, Trevor Bolder, 90 Min, OV
Glamouröse, hautenge und knappste Kostüme: Das legendäre Abschiedskonzert von
Rock’n’Roll Alien Ziggy Stardust und Alter Ego von David Bowie mit dessen Band The
Spiders From Mars.
David Bowie’s final performance as Ziggy Stardust in 1973 at London’s Hammersmith
Odeon Theater. Framed by a smattering of behind-the-scenes footage, the bulk of the
film concerns the actual concert, notable as the final time that Bowie would perform
under the Ziggy Stardust persona, an announcement that, at the time, led many fans to
mistakenly believe Bowie was retiring altogether.
01.01. 18.15 Uhr, 07.01. 21.45 Uhr, 12.01. 18.15 Uhr
Depeche Mode 101
GB/USA 1989, R: Chris Hegedus, D. A. Pennebaker, David Dawkins mit Andrew Fletcher,
David Gahan, Martin Gore, Alan Wilder, 117 Min, OV
When we rolled across the country with the band—Martin, David, Andy and Alan—in their
shiny green jet, with bus-loads of friends and accomplices and two 40-foot semis full of
equipment, they were like a shipload of pirates looking for spoils. They’d pick out a city
where their records sold well, arrive there at dawn, set up their stuff, and when they had
an audience half-crazy with expectation, stage manager Andy Franks would announce,
“Start the intro tape!” and the magic would begin. For two or three hours fifty thousand
fans would sing and dance as they did for no one else.
With son Frazer Pennebaker back in New York as our producer and David Dawkins as a
collaborator we set out on tour. We filmed most concerts just the three of us. Three
weeks into the filming, the band’s producers suggested a dance contest where a busload
of fans would win a trip across the country and meet up with Depeche Mode at the final
Rose Bowl concert. New York radio station WDRE and DJ Malibu Sue hosted the event
which drew thousands of fans. Somehow eight fantastic kids were chosen and we put two
of our favorite filmmakers, Jeff Kreines and Joel DeMott, on the bus with them. Some
people say that the bus kids were the first of the MTV Real Life series. For all of us it was
an incredible journey. We always tell people that the time we spent on the road with
Depeche Mode was our favorite film adventure.
(D. A. Pennebaker and Chris Hegedus)
04.01. 20 Uhr
Westernhagen - Keine Zeit
D 1995, R: R: D. A. Pennebaker, Chris Hegedus mit Marius Müller-Westernhagen,
Romney Williams, Boris Becker, Barbara Becker, 85 Min
Marius Muller-Westernhagen and his wife, former supermodel (now photographer),
Romney Williams, called us up and asked if we’d be interested in going on tour in
Germany with him and his first-rate band to promote his 1994 platinum album,
“Affentheater.” We liked them instantly and decided to go for the adventure. A talented
composer and a showman on stage, Marius filled some of the largest stadiums we had
ever filmed in.
(D. A. Pennebaker and Chris Hegedus)
03.01. 20 Uhr, 08.01. 23.30 Uhr, 09.01. 20.15 Uhr, 16.01. 22 Uhr
The War Room [Die Kommandozentrale] USA 1993, R: Chris Hegedus, D.A.
Pennebaker mit James Carville, George Stephanopoulos, Bill Clinton, Hillary Clinton, 96
Min, OmeU
Bill Clinton war der erste Präsidentschaftskandidat der Rockgeneration. 1992 während
der US-Präsidentschaftswahlen Clinton vs. Bush gelang dem Filmteam ein
aufschlussreicher, bisweilen fast intimer Zugang zu dessen „War room“ genannter, für die
Öffentlichkeit gesperrter Wahlkampfzentrale. Der Präsidentschaftskandidat ist wie durch
einen Spiegel erlebbar durch seine zwei Masterminds, dem Chef-Wahlkampfstrategen
James Carville und den Kommunikationsdirektor George Stephanopoulos. Clintons Team
gelangen neue Kampagnen-Maßstäbe. Carville prägte den inzwischen Geschichte
gewordenen Ausspruch „It’s the economy, stupid!“. Die Wirtschaft zusammen mit
„Change“, dem Wandel, und eine kostenlose Krankenversicherung waren zentrale
Wahlkampfthemen.
Bezogen auf die kommenden US-Wahlen 2016 klingt ein Satz aus einer Rede von Bill
Clinton über seine Frau Hillary nahezu prophetisch: „Sie wird die einflussreichste Frau
des Präsidenten in der Geschichte der USA“.
“What’s so special about the War Room?” asked a CNN reporter. “It’s special, said
George Stephanopoulos, because you’re not allowed to go in there”. Named for the offlimits command centre at the hub of Bill Clinton’s successful bid for the US presidency,
The War Room follows the campaign through the eyes of two of its “generals”,
Communications Director George Stephanopoulos and Senior Strategist James Carville.
It is an honest, witty and revealing look at how these two man and their determined
nucleus of collaborators revolutionised presidential campaigning and orchestrated one of
the greatest political upsets in American history.
We had stumbled upon a band of passionate, quirky campaign staff whose aggressive
tactics and “It’s the economy stupid” battle cry would help a young, unknown Bill Clinton
become president. Our subjects, James Carville and George Stephanopoulos, became
famous and the strategies of their war room an inspiration for campaigns around the
world.
03.01. 18.15 Uhr, 06.01. 20 Uhr, 12.01. 20 Uhr, 16.01. 18.15 Uhr
Pennebaker Short
USA 1953-1967, R: D.A. Pennebaker mit Dave Lambert, Robert Kennedy, Jean Tinguely,
insgesamt 118 Min., OV
Daybreak Express (USA 1953, 5 Min), Baby (USA 1954, 6 Min), Opening in Moscow
(USA 1959, 45 Min), Breaking It Up at the Museum (USA 1960, 8 Min), Lambert &
Co. (USA 1964, 15 Min), You’re Nobody Til Somebody Loves You (USA 1964, 12
Min), Rainforest (USA 1967, 27 Min)
Daybreak Express: Beeinflusst von den New York Bildern des Malers Joan Sloan wollte
Pennebaker die Züge New Yorks filmisch festhalten, bevor sie engültig verschwanden. Mit
einem kleinen Projektor ging Pennebaker persönlich zu Duke Ellington, um von ihm die
Erlaubnis zu erhalten, dessen Stück „Daybreak Express“ als Filmmusik zu verwenden.
I wanted to make a film about this filthy, noisy train and it’s packed-in passengers that
would look beautiful, like John Sloan’s New York City paintings, and I wanted it to go with
my Duke Ellington record “Daybreak Express.”
Baby: This is a first film shot in 1954. It began as one sort of film and ended up
something quite different. I took Stacy, my two-year-old, to the Central Park Zoo. Stacy,
bored with animals sets out to explore some noises she hears and ends up discovering a
merry-go-round. When I finally catch up and help get her up on one of those huge
horses for the first time, I see the look on her face, and I know. There’s the film. I
should be watching not directing. The unplanned seems to me more interesting always,
or at least more possible than the planned. That’s really the film I’ve been trying to
make ever since.
Opening in Moscow: A 1959 colored film of the opening of the American National
Exhibition in Moscow, site of the famous Nixon-Khrushchev “Kitchen Debates”, and a rare
look at daily life in Moscow.
Breaking It Up at the Museum: In the Spring of 1960, my friend, the sculptor, Jean
Tinguely set up a huge “self-constructing/self-destructing machine” in the garden of The
Museum of Modern Art, also known as the Sculpture Court. He called it his Homage to
New York.
Lambert & Co. Dave Lambert had been a hero of mine ever since I left Chicago for New
York in the forties, long before he’d begun the famous Lambert, Hendricks and Ross trio,
when he was an arranger for Gene Krupa. While we were building a studio on 45th
Street for fledgling-film company, Leacock Pennebaker, Bob Van Dyke, our audio genius,
introduced me to Dave, and got him to help us finish it. When it came up that he had an
audition at RCA for a new group to record songs he had just written, we went along with
him and filmed the session.
Several months later, while helping someone fix a flat on the Merritt Parkway, Dave was
hit by a car and killed. A few weeks later, Art D’Lugoff from the Village Gate called and
said he’d heard we had a film of Dave and could he show it at the wake. Nick Proferes
and I spent that night editing and got him a print the next day. A few days later a
reporter from German TV who’d seen it, came around and asked if he could show the film
in Germany since Lambert was so well known in Europe.
It hit me that this was really what film should be doing, what I should be doing …
recording people and music as a kind of popular history that might otherwise not exist. It
was only a few weeks later that Albert Grossman walked into our office and asked if I
was interested in making a film about his client, Bob Dylan.
You’re Nobody Til Somebody Loves You: This movie is something of a mystery.
Timothy Leary was getting married to a model named Nena Von Schlebrugge in
Millbrook, New York at the Hitchcock house, where Leary had been carrying on his
hallucinogenic revelries for the past year or so after leaving Harvard. It was rumored that
this was going to be the wedding of the season. I’ve always wanted to film someone
getting married.
After Nena divorced Leary she married a Tibetan scholar, Dr. Robert Thurman and her
daughter Uma is Uma the actress.
Rainforest: Leacock and Pennebaker filmed choreographer Merce Cunningham’s dance
“RainForest” as part of the 1968 Buffalo Arts Festival’s program “Whose Afraid of the
Avant-Garde” presenting experimental art, music, dance, poetry and theater. The dance
composition also featured music by John Tudor, costumes by Jasper Johns and sets by
Andy Warhol.
02.01. 16 Uhr, 14.01. 19.45 Uhr, 17.01. 15.30 Uhr
1 PM
1971, R: D. A. Pennebaker, Jean-Luc Godard, Richard Leacock mit Rip Torn, Leroi Jones,
Eldridger Cleaver, Jefferson Airplane, 95 Min
It was in the early ‘60s at the Cinémathèque in Paris that I met Jean-Luc Godard and we
talked about doing a film together. His idea was to set up a town somewhere, and my
partner Ricky Leacock and I would arrive and shoot whatever we found there, with no
script or preparation on our part, like a newsreel. That film never happened, but a few
years later Godard decided he wanted to make a film with us. PBL, forerunner of Public
Television, agreed to produce it. The film was to be called 1 AM (One American Movie),
and it was to be about the rising resistance to the Vietnam War and the impending
revolution that Godard was convinced was about to happen in the U.S.
After shooting the film, Godard and Leacock both decided to leave town, Godard going off
with Gorin to start a new leftist cinema and Leacock to teach at MIT. I was left to deliver
something to Public Television or face severe contractual coercion. Thus, 1 AM became 1
PM (One Parallel Movie – or One Pennebaker Movie, as Jean-Luc has called it.)
(D. A. Pennebaker)
06.01. 21.45 Uhr, 11.01. 18.15 Uhr, 17.01. 19 Uhr
Town Bloody Hall
USA 1979, R: Chris Hegedus, D.A. Pennebaker mit Norman Mailer, Jacqueline Ceballos,
Germaine Greer, 88 Min, OV
On the evening of April 30, 1971, a standing room only audience of local literati and
feminists packed New York City’s Town Hall to watch Norman Mailer, who had just
written “The Prisoner of Sex,” grapple with a panel of passionate feminists. The subject
was Women’s Liberation, an issue on which Mailer seemed like the devil’s own advocate.
There to test him was a fearsome panel of feminist representatives, among them
journalist and lesbian spokeswoman Jill Johnston; legendary literary critic Diana Trilling;
president of The National Organization of Women (NOW), Jacqueline Ceballos; and
possibly his toughest match, the glamorous and razor-tongued author of The Female
Eunuch, Germaine Greer.
07.01. 18.15 Uhr, 14.01. 18 Uhr
Famous Artist: Elliot Carter & Bessie Schonberg
Elliott Carter at Buffalo USA 1980, R: D.A. Pennebaker, Chris Hegedus, 45 Min, OV
Bessie: A Portrait of Bessie Schonberg USA 1998, R: Chris Hegedus, D.A. Pennebaker, 58
Min, OV
Insgesamt 103 Min
In 1979, Elliott Carter flew to Buffalo, New York, to hear a group of first-rate musicians
rehearse and perform this complex modern work for piano and harpsichord. The film is a
unique record not only of a concert performance, but an fascinating view of the
collaboration between musicians and a renowned composer.
Part critic, mentor, guru and fairy godmother Bessie at age eighty-six helped students
see the hard and wondrous truths about themselves. She recognized hard work, even if it
ended in failure, and insisted that failure was the most useful teacher. Bessie’s message
“decide what you want to do and do it" went beyond choreography and dance.
A native of Germany Bessie Schonberg emigrated to the United States where she
graduated from Bennington College and performed with the Martha Graham Company.
The annual New York Dance and Performance Awards (the Bessies) are named after her.
Bessie Schonberg died in 1997.
11.01. 21.45 Uhr, 08.01. 20 Uhr
Dance Black America
USA 1983, R: D.A. Pennebaker, Chris Hegedus mit The Alvin Ailey American Dance
Theater, Garth Fagan’s Bucket Dance Theater, Mama Lu Park’s Jazz Dancers, 89 Min, OV
The Dance Black America Festival presented by the Brooklyn Academy of Music and the
State University of New York in April 1983.
“Infectious enthusiasm.. thrusting, jumping, jiggling, flexing, reflexive movement.
This dancing is rhythm made flesh.”
(The Village Voice)
05.01. 22 Uhr, 09.01. 18.30 Uhr, 13.01. 20 Uhr
Moon over Broadway
USA 1997, R: Chris Hegedus, D.A. Pennebaker mit Carol Burnett, Philip Bosco, 98 Min,
OV
Chris Hegedus and D A Pennebaker bring their fly-on-the-wall camera backstage to take
a fresh, eye-opening, no-holds-barred look at the big bang adventure of producing a
Broadway hit. The Broadway show in question is “Moon Over Buffalo,” starring Carol
Burnett and Philip Bosco, a comedy about a low-rent Lunt and Fontaine, hell-bent upon
recharging their careers.
Cited by The New York Times as “the best documentary of the year,” the film features
hilarious turns by its leading actors—and even funnier behind-the-scenes sequences, as
everyone mounting this high-risk Broadway production goes into nail-biting overdrive.
“Completely enjoyable and fascinating!” — Woody Allen
04.01. 18 Uhr, 13.01. 18 Uhr
Down from the Mountain
USA 2000, R: Nick Doob, Chris Hegedus, D. A. Pennebaker mit The Cox Family, Fairfield
Four, Emmylou Harris, John Hartford, 98 Min, OV
When the time came for the Coen Brothers to find the music for their Southern period
piece comedy, “O Brother, Where Art Thou?,” they asked record producer T Bone Burnett
to lend a hand. They wanted original recordings of old-timey, American folk music. What
they came up with was a sprawling mix of authentic bluegrass musicians and
contemporary alternative country stars that resulted in a surprisingly successful
soundtrack album. Featured on the soundtrack are Emmylou Harris, Alison Krauss, Gillian
Welch, John Hartford, Ralph Stanley, David Rawlings, and Chris Thomas King, among
others.
“If you have any affection at all for traditional American music, the movie is pretty close
to heaven.”
(A.O. Scott, The New York Times)
06.01. 18 Uhr, 11.01. 20 Uhr, 16.01. 20 Uhr
Startup.com
USA 2001, R: Chris Hegedus, Jehane Noujaim mit Tom Herman, Kaleil Isaza Tuzman,
103 Min, OV
An intimate, behind-the-scenes view of the initial dot com mania, Startup.com follows
the adventures of childhood friends Kaleil Isaza Tuzman and Tom Herman as they create
govWorks.com, an award-winning website that lets citizens interact with their local
governments. Within a year, the two young entrepreneurs raise 60 million dollars, hire
hundreds of employees, and rub shoulders with President Bill Clinton.
03.01. 16 Uhr, 05.01. 18 Uhr
The Return to the War Room
USA 2008, R: Chris Hegedus, D.A. Pennebaker mit Paul Begala, James Carville, George
Stephanopoulos, Dee Dee Myers, 82 Min
The year the distribution rights to “The War Room” reverted back to us, so we decided to
revisit our legendary cast and find out what they remembered of 92’ and how they’ve
seen presidential campaigns change. Our first stop was James and George, but there
were many more whose stories formed that campaign – Paul Begala, Stan Greenberg,
Dee Dee Myers, Mickey Kantor, Mandy Grunwald, as well as Mary Matalin, media director
for Bush and now James’ wife, and Ross Perot’s pollster, Frank Luntz.
Once again Democrats have a young, unknown candidate, Barak Obama. But now it is
YouTube and the Internet that are redefining campaigns in ways, both good and bad,
unimaginable in 1992. George doubts he would know how to run a campaign in today’s
environment. Ironically, we witnessed the power that any individual can exert when
doctored footage from our film The War Room -- aimed at injuring Hillary Clinton’s
campaign -- stormed around Internet news sites and by nightfall appeared on CNN’s
Anderson Cooper 360 Degrees.
10.01. 19.45 Uhr, 13.01. 21.45 Uhr
Kings of Pastry
USA 2009, R: Chris Hegedus, D. A. Pennebaker mit Sebastien Canonne, Jacquy Pfeiffer,
Rachel Beaudry, Philippe Rigollot, 84 Min
Kings of Pastry brings to the screen a scene never before witnessed: 16 French pastry
chefs gathered for three intense days of mixing, piping and sculpting everything from
delicate chocolates to six-foot sugar sculptures. This is the MOF (Meilleur Ouvrier de
France) competition, the ultimate recognition for every pastry chef; it is a dream and an
obsession. The film follows Jacquy Pfeiffer, founder of The French Pastry School in
Chicago, as he returns to France to compete in this competition of extraordinary skill,
nerves of steel, and luck, in hopes of being declared, by President Sarkozy, one of the
Kings of Pastry.
02.01. 18.15 Uhr, 10.01. 18 Uhr, 15.01. 18.15 Uhr