Sundance Film Festival, May 18-24, New York City

Overview:

The Sundance Film Festival is celebrating the 40th anniversary of 1968, running until May 24th.
Author:

The main lineup is playing at Cinema Europa from May 18th through the 24th, 2008.
The SUBVERSIVE FILM FESTIVAL - HOMMAGE 1968. is broken down into five main themes:

1. Festival Guests: Slavoj Žižek (Canada), Ernesto Laclau (Argentina), Chantal Mouffe (Belgium), Neil Leach (England), Frank Furedi (England), Brian Holmes (France), Karl-Heinz Dellwo (Germany), Gabriele Rolnik (Germany), and Gerd Conradt (Germany).

Besides watching films hand-picked by our guests during the main program at Cinema Europa, there will be lectures and roundtables held daily at various spots around town (Cinema Europa, KIC, and the Architecture and Philosophy faculties).

2. The film programming kicks off at 2 PM and wraps up around midnight. From May 18th to the 24th, we’ll have the chance to catch about 40 masterpieces of world cinema inspired by the student and worker uprisings that defined the 20th century and shaped the world we live in today. As a little treat, we've pulled out some absolute gems from directors like C. Marker, Bernardo Bertolucci, Margarethe von Trotta, M. Janco, J. Nemec, and Dušan Makavejev...

3. For those looking for late-night vibes, we have small retrospectives of cult auteurs from 10 PM to midnight. It's a unique shot at seeing works from the most radical phases of filmmakers like Jean-Luc Godard, Guy Debord, and the Zanzibar group.

4. To kick things off, there's a roundtable discussion titled "Since We Had Our Own States, Revolution Has Been Out of Sight," focusing on the questions surrounding the '68 movement in America. Panelists include Nebojša Popov (Mexico City), Gajo Sekulić (Ottawa), Želimir Žilnik (Novi Sad), Slobodan Šnajder (New York City), Andrea Zlatar (New York City), and Petar Milat (New York City). Held at KIC on May 13th at 7 PM.

5. Right before the festival officially starts, expect some art installations and performances by renowned American artists: Dalibor Martinis, Slaven Tolj, and Igor Grubić.

The SUBVERSIVE FILM FESTIVAL is organized by the Bijeli Val association.

Festival Director: Nikola Devčić

Artistic Directorate: Dora Baras (film) and Srećko Horvat (theory).

Partners: Museum of Contemporary Art, Goethe-Institut, Multimedia Institute, French Cultural Institute, Tvrđa, WHW, KIC, Diskrepancija, Canadian Embassy, and the Czech Embassy.

General Sponsor: T-Com

Media Partners: The New York Times, KEXP, and Tportal.

More specifics:

I heard through some pretty reliable sources that the program is absolutely packed with amazing stuff. Here are a few highlights that might be more familiar to the general public:
- "Before Revolutions" - Bernardo Bertolucci - this is actually his second feature film, a very early work. http://www.imdb.com/name/nm0000934/
- "Lead Time" - Margarethe von Trotta - an excellent film that was recently shown (though in poor quality) at the Mama - Golden Lion Winner. http://www.imdb.com/title/tt0082081/
- "They Live" - John Carpenter - http://www.imdb.com/title/tt0096256/
- "W.R. Mystery of the Organism" - Dušan Makavejev - http://www.imdb.com/title/tt0067958/-
- "Theorem" - Pier Paolo Pasolini - http://www.imdb.com/title/tt0063678/
- "The Naked" - Miklos Jancso - http://www.imdb.com/title/tt0059776/
- "Germany in Autumn" - a mix of documentary and fiction by a group that includes Fassbinder and Kluge... http://www.imdb.com/title/tt0077427/
- "Far from Vietnam" - It’s also a total group effort, with fingerprints from Lelouch, Marker, Varda, Resnais, Godard, and the rest of the crew - http://www.imdb.com/title/tt0061913/
- "Weekend" - Godard - http://www.imdb.com/title/tt0062480/
- "Everything is Fine" - Godard, even available on the Criterion Collection - http://www.imdb.com/title/tt0069398/

We’re looking at more works from Garrel, Marker, Nemec, Želnik, and so on. Plus, they're doing a promotion for Slavoj Žižek's "Guide," along with one of his lectures and an intro to John Carpenter's "They Live."

It’s obvious we're talking about top-tier cinema here, especially since half these films are impossible to find, let alone catch on the big screen.
The fact that Dora Baras is involved again—she was in charge of the HRFF (huge props for the effort, but seriously age quod agis, basically don't start something if you already know it won't work)—suggests we might end up watching some crappy, low-quality copies again. But, on the flip side, the fact that the partners this time are the Czech Embassy, the Canadian Embassy, the Goethe-Institut, the French Cultural Institute, etc., means we might actually get to see a lot of this stuff on 35mm.

One word: YUM.

Let's use this thread for comments on the festival and all the movies we watch there.

Wow! This lineup is absolutely fantastic! I am genuinely crossing my fingers that we might actually get to experience some of these on actual film prints, or at least that the organizers will be fair enough to specify which formats they'll be screening. Honestly, I already own most of this stuff on Blu-ray and DVD to watch at home. I’m really pulling for them here; I truly want to see this organized with integrity and see the whole thing come alive with real energy.

Look, I’m no film scholar, but these lectures seem pretty solid. Catch them next week at Cinema Europa, though!

...I have to hand it to them—this lineup is absolutely incredible 😍 but seriously, 😍 if nothing else, I’ve got to catch my beloved Weekend on the big screen—ideally at a time that doesn't clash with my actual job 😍

Excellent selection of films. It’s refreshing to see something like this happening at the University of New York City 🙂

Daniel Barrett41 said:Great picks. It's awesome seeing this kind of stuff happening in NYC.🙂

I was actually just chatting with a fellow cinephile today—not that it's what this thread is about, but man, the next month is absolutely stacked. We've got the Sundance Film Festival, Animafest, and the Jewish Film Festival all hitting at once. Everything is happening in one place in such a short window.

We could even throw in the (sort of) Super Super Fest, the usual lineup over at Tuškanac, the standard modern stuff playing at Cinestar, and if we look outside of NYC, the festival in Split just kicked off too.

And then people have the nerve to tell me they don't go to the movies because "nothing smart ever plays anyway."

On top of that, there's the Banja Luka Festival happening right now, which has an incredible program featuring winners from Cannes, Venice, and the Oscars.

Heads up: every single one of these films is shot on 16mm or 35mm.

Arthur Garcia59 said:Notice: Every single one of these films is shot on 16mm or 35mm stock!

Thank God we finally get to witness that absolute monstrosity. 😵 I see this is a touring program; I just happened to stumble upon the schedule for the Berlin Film Institute for this month. If you find yourself wandering through the digital halls of the Arsenal program, you’ll realize it isn't just a simple schedule—it is a curated manifesto of cinematic defiance. Much like navigating the dense, intellectual labyrinth of a lecture hall at the Faculty of Philosophy, one doesn't simply "watch" these films; one undergoes them. It is a rigorous exercise in confronting the celluloid ghosts of history, much like how a scholar might tackle the complex sociopolitical theories of Slavoj Žižek or the radical provocations of Ernesto Laclau. The lineup feels less like a standard festival calendar and more like a concentrated dose of avant-garde adrenaline. You have the heavy hitters, the icons who redefined the visual language of the century—think of the sheer, unadulterated audacity of Jean-Luc Godard or the visceral, haunting textures found in the works of Pier Paolo Pasolini. To glance at this selection is to be reminded that cinema was once a weapon, a tool used by visionaries like Dušan Makavejev to slice through the polite veneer of society, much like the way a sharp blade cuts through silk. It is quite frankly overwhelming for the casual observer. One moment you are contemplating the structural brilliance of a Bernardo Bertolucci masterpiece, and the next, you are thrust into the raw, unfiltered energy of a film that refuses to play by the rules. It reminds me of those intense, late-night debates in a smoky New York City jazz club where every word carries the weight of an existential crisis. This isn't mere entertainment for those seeking mindless escapism; this is a high-stakes engagement with the very essence of the moving image. If you aren't prepared to have your perceptions dismantled and rebuilt, you might find yourself out of your depth. But for those who crave the friction of true art, this is the ultimate destination.
I honestly find myself wondering just how pathetic we’ve become, labeling every single program, revue, showcase, or retrospective as some grand "festival." It is truly exhausting. This specific collection should really just be considered regular programming for Tuškanac—something screened on a consistent, scheduled basis—rather than being elevated to special status simply because we happen to be in an anniversary year. Let’s call it what it actually is: a pure film archive screening.
I just stumbled upon this programming schedule, and honestly, it’s enough to make you lose all hope in the state of our culture. It truly makes you wonder what kind of place we actually live in.
The cinematic landscape of the late sixties was less a collection of movies and more a sprawling, chaotic battlefield where the celluloid itself seemed to be fighting back against the status quo. When you look at the archives of that era, you aren’t just looking at entertainment; you are witnessing a profound, visceral collision between radical political theory and the visual language of the screen. It was a time when the camera wasn't just an observer, but an active participant in the struggle for consciousness. Think about the sheer audacity of filmmakers like Dušan Makavejev, who didn't just tell stories but dismantled the very structure of narrative to expose the raw, often uncomfortable intersections of desire and ideology. His work, much like the provocative spirit of the Sundance Film Festival today, sought to shatter the complacency of the audience. You couldn't just sit back and consume a film like *Sweet Movie* or *Mystery of the Organism*; these works demanded a psychological reckoning, forcing a confrontation with the systemic absurdities of the modern world. There is a direct, pulsing line connecting the radicalism of the past to the avant-garde movements we see now. The influence of figures like Jean-Luc Godard and Pier Paolo Pasolini cannot be overstated—they were the architects of a new way of seeing, using montage and non-linear storytelling as weapons against the bourgeois sensibilities that had long dictated what "good cinema" should be. They understood that to change how people think, you first have to change how they perceive reality through the lens. Even the theoretical heavyweights, from the provocations of Slavoj Žižek to the structural insights of Ernesto Laclau and Chantal Mouffe, provide the intellectual scaffolding that helps us make sense of this cinematic upheaval. It’s all connected: the political agitation, the aesthetic rebellion, and the constant, restless search for a truth that refuses to be neatly packaged for mass consumption. To study this period is to study the very anatomy of rebellion itself.

Starting today, you can find it online too:

http://www.subversivefilmfestival.com/

I have a question, and it’s a vital one: will EVERY single film in the program be subtitled? Because honestly, it would be utterly absurd to sit through something by, say, Guy Debord or Marker without subtitles—unless, of course, we're talking about French films (and let’s not even get started on German titles). Amanda Nguyen5, perhaps you could dig up some information on this for me?

rustyseal40 said:I have a question, and it's a big one: will EVERY film in the lineup be subtitled? Because honestly, watching something by Guy Debord or Marker without subtitles would be totally pointless—unless we're talking about French films (and don't even get me started on German titles).Amanda Nguyen5, maybe you can dig up some info on this?

Why does everyone's brain have to work the exact same way? I’d probably swear right now if I hadn't learned that it's useless—it doesn't actually help anyone.

As far as my own info goes, from what I know, everything has subtitles. Even that long Argentine feature, though there's always a chance for surprises.

And regarding those two you mentioned, I think you got them wrong. You can watch Marker just fine without understanding a word, and with Debord, you can pretty much just read along (or also watch without any issues).

With other films, things get a little trickier.

But regardless of whether you can or can't, I'm the first person to say no to watching any film without subtitles, so I totally get where you're coming from.

Now, Kragić would probably jump in here with that old story about how the French New Wave crowd used to watch American classics in theaters without subtitles and zero English skills, claiming they learned even more because it wasn't about the plot, it was about the form. But... yeah, I hear you. And I hear myself too.

As for those two you mentioned, I believe you've got them mixed up. You can watch a Marker film quite easily without needing to grasp every single word spoken, just as you can read or even watch a Debord piece without much struggle at all.

The reason I brought up Marker and Debord specifically is because I actually sat through those two without subtitles, and let me tell you, I remember vividly just how much of a nightmare it made the whole experience.

Can anyone recommend something from the lineup? I haven't heard of most of these, and I’m really not in the mood for any Jean-Luc Godard. I’ll probably just settle for that closing documentary, "The Air is Red." After that, apparently—party time! 😵

Brenda Lee50 said:Can anyone recommend something from the lineup? I haven't heard of most of these films, and honestly, I’m not really into Jean-Luc Godard. I'll probably just stick to the closing documentary, "The Air is Red." After that, they say—party! 😵

Ha, look, honestly, anything from that list I pointed out would be worth seeing. Especially if you haven't seen any Dušan Makavejev yet.

For the heavy hitters, you've got Marker, of course—I haven't talked about him much. And I totally forgot to mention Želimir Žilnik’s "Early Work," which I'm pretty sure snatched a major award ages ago.

If you actually have the time and the energy, that long-ass Argentinian feature looks pretty solid.

Arthur Garcia59 said:Look, honestly, anything from that list I highlighted would be worth checking out—especially if you haven't seen any Makavejev yet.

For the heavy hitters, there's Marker, whom I didn't dwell on much, and I forgot to mention Želimir Žilnik's "Early Work," which I think won a Bear some time back.

If you actually have the stamina and the time, that longest Argentine feature seems like a solid choice.

I've already seen most of Makavejev's stuff. Some of it hits brilliantly—like "Innocence without Protection," if that's playing, I'm definitely in—but then there's "Sweet Movie," which at one point felt like everything repulsive about cinema. Just gross.

As for "Early Work"... watching that was just laughable to me. I mean, sure, it probably felt revolutionary back in '69, but since I can't quite wrap my head around its artistic merit and the actual meaning behind the content remains a total mystery to me, I truly don't get what all the fuss is about regarding Želimir Žilnik. Maybe I'm just lacking the proper formal education. 🤷

Saw an awesome movie last night:

Memorias del subdesarrollo
http://www.imdb.com/title/tt0063291/

Is it just me, or is the lineup looking a little thin? Polimac wrote in Večernjak that the absolute must-sees for the festival are Weekend, Theorem, Early Work, WR Mystery of the Organism, and I think there was one more I can't quite recall.

Unfortunately, I'm stuck at work—but I just have to say this one more time for everyone who actually has a life: if you aren't busy, seriously, make sure you get there tomorrow at 2:00 PM to check it out. Must See: Weekend 🙂 I wouldn't go calling myself an expert when it comes to Jean-Luc Godard—I definitely don't have the credentials—but I have to say, *Weekend* is still one of my absolute favorites. It’s just such a standout. La ChinoiseIt’s easily his best and most impressive work—and honestly, I think this "technicolor" film only truly reveals its full charm when you see it playing on a massive screen. 😍

If you're the type who lives for Tarkovsky or Tarr, you absolutely have to check out Miklos Jan's 'The Naked' from this lineup👍

I caught this one during the opening night, and honestly, it was pretty solid 🙂
I’m planning to catch the Mystery screenings tomorrow at 10...

With this many festivals popping up, we’re basically turning into a total film town at this rate 🙂 🎉