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From June 20 to July 1, 2012, the BAMcinemaFest film festival returns to Brooklyn.
The opening night feature is the New York premiere of comedian Mike Birbiglia’s Sleepwalk With Me, introduced by Birbiglia and co-writer Ira Glass, followed by a BAM-wide party for ticket holders.
This autobiographical film stars Birbiglia as a bartender at a Park Slope comedy club who moves in with his long-term girlfriend (Lauren Ambrose). Struggling with his relationship and his stand-up career, he also battles an extreme form of sleepwalking where he acts out his dreams -- even going so far as to throw himself out of a second story window.
The New York Asian Film Festival (NYAFF, June 29 – July 15) returns to New York with one of the strangest collection of films yet. Screenings will be held at the Film Society of Lincoln Center's Walter Reade Theater (165 West 65th Street) and the Japan Society (333 East 47th Street).
Each year the NYAFF grows larger and larger, and it’s selection of films more interesting and diverse. Daring new directors, bizarre oddities, and break out hits make up this festival of Asian cinema, with themes ranging from the absurd to the apocalyptic.
Although Americans have undoubtedly invented and perfected the traditional Western genre of movies, therehave been many international adaptations and reconfigurations.
For example, spaghetti westerns were named after being produced by and directed by Italians and have produced a cult-like following, hailed by many fans as “the best genre of films."
The Film Forum (W. Houston) honors this particular variety of films with a three-week Spaghetti Western Film Festival running June 1st to the 21st, 2012, with screenings by the spaghetti film originator, Sergio Leone and his rival Sergio Corbucci, among others.
If there’s one must-see film during the Film Society of Lincoln Center’s annual June series, Open Roads: New Italian Cinema at the Walter Reade Theater (running from the 8th – 14th), it’s the latest by master Ermanno Olmi, whose The Cardboard Village is another example of his extraordinary yet simple artistry.
Since his early ‘60s breakthroughs Il Posto and The Fiances -- and even in his biggest hit, the overlong The Tree of Wooden Clogs (1978) -- Olmi’s humane portraits of everyday people have always been understated and subtle; The Cardboard Village -- 87 minutes of not a frame wasted -- shows that the soon-to-be 81-year-old Olmi (due another career retrospective—the last one in New York was a decade ago!) remains relevant.