Village Voice 05.10.2017 : Page 57

FILM An Evening With the New Negress Film Society May 12 The New Negress Film So-ciety rolls into Anthology this week with a collection of short films by African-American women. This is notable purely for reasons of diversity; sadly, the es-tablished world of experi-mental cinema has remained inaccessible to most black women practi-tioners. (Oakland’s Cauleen Smith and Canada’s Chris-tina Battle are probably the most prominent.) There are a lot of historical rea-sons for this lack, but it can at least partly be attributed to narrow-minded defini-tions of what counts as ex-perimental film — New Negress aims to rectify that. The seven-title pro-gram of short works to be screened digitally is quite varied, but highlights in-clude Frances Bodomo’s Afronauts (2014), a short narrative about a team of Zambians in the space race of the Sixties; Dyani Douze and Nontsikelelo Mutiti’s Pain Revisited (2015), a music-based piece full of unexpected change-ups; and, best of all, Ja’Tovia Gary’s An Ec-static Experience (2015), a lovely found-footage film, built around a bracing cin-ematic monologue, that engages in direct oratory as scratches in the emul-sion rattle the very surface of the celluloid. MICHAEL SICINSKI At 7:30, Anthology Film Archives, 32 Second Avenue, Manhattan, 212-505-5181,, $7–$11 Solaris Opens May 12 A genuine star trek with no star wars, Solaris (1972) was Russian mystic Andrei Tarkovsky’s first brush with the science-fiction mode, but not his last. (Later in the same decade, Stalker , from 1979, con-veyed his vision of an earthly dystopia.) Here, a psychologist is sent sky-ward to untangle the mys-terious goings-on at a remote space station. It’s a space-horror premise ren-dered as a monograph, or a poem from antiquity. The good doctor soon learns that the cause of the sta-tion’s inexplicable happen-ings — the planet they’re orbiting exerts a hallucina-tory influence over anyone who comes near — are probably terrible but cer-tainly irresistible. Tar-kovsky’s glacial patience suggests he would side with the gyrating heavens, yet his knack for spooky doings arguably makes So-laris the best entry for new-comers. In features From Frances Bodomo’s Everybody Dies! , screening Friday at Anthology 59 May 10 -May 16, 2017 VILLAGE Courtesy Frances Bodomo Warner Bros subsequent to Solaris , Tar-kovsky would leave behind the ’Scope frame and scale back the fleshy Eastman-color; here, they’re both employed to peak capacity. JAIME N. CHRISTLEY Various times, Walter Reade Theater, 165 West 65th Street, Manhattan, 212-875-5601,, $11–$14 FOOD & DRINK Angie Dickinson and Lee Marvin in Point Blank , based on Westlake’s The Hunter critic ’ s pick May 12–14 film BRUTE FORCE Donald Westlake occupied a corner office in crime fiction, whether or not he happened to be practicing under the name Richard Stark. His work was distinguished by a steely resolve to respect his readers' intelligence. He shot straight pool and never oversold the shock value in his depictions of violence, and he always collected on the various debts undertaken by his characters. Perhaps his true calling was brute physics, in that the re-sult of an unstoppable force meeting an immovable object was the de-struction of the object. Besides John Boorman’s canonical Point Blank (1967), highlights in the Museum of the Moving Image’s small but choice series of Westlake adaptations, “Crime Scenes: Donald Westlake on Film,” include The Outfit (1973), by John Flynn, arguably a more faithful Parker adaptation than the psychedelic Lee Marvin classic. Jean-Luc Go-dard’s Made in U.S.A. (1966) marches to a different tune altogether, while the Stephen Frears–directed The Grifters (1990) shows off Westlake’s own adaptation skills, getting Jim Thompson’s 1963 source novel to lighten up just a little. JAIME N. CHRISTLEY Various times, Museum of the Moving Image, 36-01 35th Avenue, Queens, 718-777-6800,, free–$15 A CHOICE SERIES REFLECTS ON THE MOVIES ADAPTED FROM DONALD WESTLAKE’S COLD, HARD CRIME NOVELS CoffeeCon May 13 Exhibitors on the tasting floor of this jolt-delivering festival include a range of roasters, like Toby’s Estate, Blue Bottle, and Birch, plus coffee-machine companies like La Marzocco and food purveyors like Underwest Donuts, a natural java pair-ing. The scheduled classes will help you learn useful things such as how to taste coffee correctly (gulping whole cups at a time appar-ently isn’t the way) and how to roast coffee at home. At the end of the end of the day, they’re giving away a bunch of prizes, so you might be able to im-press your friends and fam-ily with new brew skills on Sunday morning. MARY BAKIJA Starts at 9 a.m., Metropolitan Pavilion, 125 West 18th Street, Manhattan,, $15+ ing a slew of restaurants and food vendors to the area. It’s a refreshing way to sample a variety of nearby lunch options while enjoying some time out in the sun. With more than twenty participating ven-dors, there will be some hard decisions to make, but we’re looking forward to trying jiangbing, the Beijing-style crepes from 2016 Vendy Awards Rookie of the Year Mr. Bing; the meat-and veg-stuffed creations of a former Bark Hot Dogs honcho at Make Sandwich; and the salteñas from Bolivian Llama Party, which are sort of like empa-nadas, but better. The pop-up market runs daily through June 9, then re-turns in the fall with a new lineup. MARY BAKIJA Worth Square, 5th Avenue between 25th and 26th Streets,, free of essays that wrings both humor and heartbreak out of topics as varied as Cam-bodian labor conditions and the pitfalls of the American health-care sys-tem. Each piece is well-researched and tightly written — strengths Moore surely acquired as a journalist — and Xander Marro’s accompanying illustrations further reveal the gruesome truths of her words. At this reading, Moore will discuss her book with Amy Rose Spie-gel, a music editor at Talk-house and the author of Action: A Book About Sex . AMY BRADY At 7, Word, 126 Franklin Street, Brooklyn, 718-383-0096,, free LIT Anne Elizabeth Moore: Body Horror May 10 The writings of Anne Eliza-beth Moore ( Unmarketable , Cambodian Grrrl ) get at the root of why misogyny persists and how it trauma-tizes women’s bodies — a necessary mission in any social climate, let alone one in which a presidential administration seems hell-bent on limiting the rights of people who aren’t white men. Her latest, Body Hor-ror: Capitalism, Fear, Mi-sogyny, Jokes , out last month, is a fascinating and often alarming collection Mad. Sq. Eats Opens May 13 The twice-a-year, month-long event from Urban-Space and the Madison Square Park Conservancy kicks off this week, bring-No, Dear : Issue #19 Launch May 12 No, Dear magazine is a poetry journal dedicated to publishing fresh voices from the New York literary scene. This week, they cel-ebrate their spring issue, “REPUBLIC,” with read-ings by many of the dozen-plus contributors. Over the course of the evening, at-tendees will get to listen to the seductive lyricism of Renata Ament, the haunt-ing investigations of Adjua Gargi Nzinga Greaves, and the wry declarations of Sarah Sarai. The writers No, Dear features are di-verse in age, gender, race, visibility, form, and voice — a beautiful reflection of the city itself. In their work, po-etics and politics converge, attempting a vision of unity and resistance in a deeply fractured America. Swing

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