“The Movie E-Mail” by Mirror/Stage

A year or two ago I was going to the movies so often that it was nearly impossible for me to make plans with other people: by the time my friends realized something had opened, I’d already seen it and was on to the next film. In response to this problem I started a mailing list for everyone I knew who was interested that discussed what was new, what looked good, and when I was planning on seeing everything.

These days I spend a lot less time in movie theaters than I used to and I’m not nearly as uptight about seeing things right away. At 1-2 films a week, though, I’m still seeing more films than almost anyone I know, and I’m just as finicky about making plans as ever. Plus, I always enjoyed writing those e-mails, so earlier this year I decided to bring the list back.

I started with a small group of good friends, but after about two months I believe I have a handle on what I’d like these e-mails to look like and I’m going public: you (yes, you!) can now subscribe to “The Movie E-Mail” using the short form on my sidebar (it’s after the calendar but before the blogroll). The weekly e-mail, sent every Friday, is a digest of everything on the calendar for the upcoming week supplemented by off-the-cuff “critical” remarks on what I’ve seen recently. Unsubscribing is easy: just send me an e-mail at any time saying you want off. Hooray!

Very Brief Notes (A “Getting Up to Speed Again” Edition)

Pittsburgh Filmmakers’ May calendar is now available online. It is the bearer of some bad news (I missed two Philip Carli events), but it is, as usual, mostly a reason to smile. Highlights for me: a new 35mm print of one of my very favorite films, Contempt (1963), and a chance to see what the deal is with this “modern day musical” Love Songs (2007). Also possibly of interest: a screening of Sideways (2004) accompanied by a wine tasting on May 28. $30 is a bit steep, but I am a big fan of the “movie plus _____”.

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Also now online: a schedule for Moonlit Matinees VI at the Oaks Theater in Oakmont. Highlights for me: Xanadu (1980) on July 12 and 13 (I’ve never seen it, but I’ve always been intrigued), Strangers on a Train (1951) on August 2 and 3 (I’ve been meaning to revisit this film for awhile), and the “Pennsylvania Theatrical Premiere” of Gregg Araki’s Smiley Face (2007) on August 16 and 17. Oakmont can be difficult to get to for those of us who don’t drive, but it’s a beautiful theater that’s worth the trip.

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There’s a whole bunch of information about the latest edition of the Pittsburgh 48 Hour Film Project available at their website. Key dates:

Wednesday, May 14: Meet and Greet
Friday, June 6: Kickoff
Sunday, June 8: Dropoff
Tuesday, June 17 and Wednesday, June 18: Screenings
Friday, June 20: Best Of Screening, After Party/Awards Ceremony

I was mostly impressed with the first Pgh 48HFP, and there’s no reason to believe this second one won’t be even better.

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Do any New Yorkers still read this site? If so, dig this: Jefferson Presents, my favorite monthly avant-garde/experimental film showcase, is going on the road to the Museum of Modern Art. This Saturday, May 17 (8pm) screening will feature some of my favorite Pittsburgh filmmakers. Highly recommended.

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Last but not least, my tentative viewing schedule for the Silk Screen Asian American Film Festival:

Saturday, May 10: Takva (2006) at 6pm at Regent and Amal (2007) at 8pm at Regent

Sunday, May 11: The Edge of Heaven (2007) at 8pm at Regent

Friday, May 16: A Colt is My Passport (1967) at 7:30 at the Warhol and Plains Wanderer (1960) at 9pm at the Warhol

Saturday, May 17: Tuya’s Marriage (2006) at 4pm at the Harris and Half Moon (2006) at 6:30pm at the Melwood

Sunday, May 18: Chop Shop (2006) at 6pm at the Harris

Link of the Week

Via Tyler Cowen at Marginal Revolution, here’s a link to a blog post by Clay Shirky (who I know from his work with tags and folksonomies, for instance here, here, and here) called “Gin, Television, and Social Surplus.” A vicious case of jet lag and a presumably related illness are preventing me from doing anything with this now (or doing much of anything at all, actually), but I wanted to put throw a link up because this is a good read for anyone interested in new media, web 2.0, and all that jazz. I don’t often encounter seemingly new ways of looking at these phenomena.

GON OUT BACKSON BISY BACKSON A. H.

Tomorrow morning I depart on a trip to Japan. Mirror/Stage will be on hiatus at least until I return on Sunday, May 4, and probably just a bit longer–I think I’ll take a few days to update the calendar (Filmmakers just added a bunch of stuff to their “Coming Soon” list, by the way), pick a few pictures for a future post about my adventures, and then resume blogging with dispatches from the Silk Screen Asian American Film Festival.

For the curious: I’ll be traveling to Tokyo, Sakata, Kyoto, Nara, and possibly Kamakura (we’ll see: I don’t have time to both try Pierre Hermé’s pastries and visit Yasujiro Ozu’s grave). Drop me a line if you want to chat about these places!

Brief notes

For the first time in quite awhile, there’s some interesting stuff going on at the Oaks Theater in Oakmont. First, monthly screenings of The Rocky Horror Picture Show (1975) will resume on Friday, May 30 at midnight. I went to a couple Rocky Horror screenings at the Oaks as an undergraduate and had a good time, so I welcome this news. Unfortunately, the Riff Raff jacket I used to wear is long gone. . . .

For more info, check out this website. The Oaks’ “Moonlit Matinees” series will also return soon, on May 31. It’s nice to see this beautiful theater showing signs of life again!

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Are you a local filmmaker? Do you like cash? Get thee to Pittsburgh Filmmakers’ “Calls for Artists” page to read about the first annual Marcus Ruscitto Emerging Filmmaker Awards and the 6th annual Film Kitchen contest (they want photo-romans this time).

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8-ticket passes are now available for the Silk Screen Asian American Film Festival. I got mine!

Cherry-Chipotle Salsa

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Like most people, I cook with an idea in my head of how whatever I’m making should taste. Usually this idea is very specific: I want my _____ to taste like the delicious _____ I had at that potluck last weekend, or like the _____ my mother used to make. As I gain more experience in the kitchen, I’m slowly moving away from this kind of imitation towards a more inventive approach to cooking, but I still spend a lot of time trying to get different things “right.”

Sometimes I succeed the first time: the one and only recipe I know for stir-fried Sichuan green beans is perfectly delicious, and I have no need for any others. Sometimes I make something so good that my idea of how it should taste changes on the spot: from the moment I tried Alton Brown’s baked macaroni and cheese, I couldn’t care less about trying to recreate the Velveeta-yellow rendition of the dish that I grew up with.

Most of the time, though, my idea of how a given dish should taste gradually changes as I experiment with different recipes for it. For instance, I started out looking for a tomato sauce recipe that tasted like it came from a jar. The whole point of homemade tomato sauce, though, is that it tastes homemade, so my first efforts to make a sauce I liked failed to please me. They did, however, slightly alter what I wanted–I realized that most commercially made sauces are much more watery than I like and not nearly spicy enough. The next few times I made sauce I was looking for something that tasted like it came from a jar, but thicker and with more red pepper. I failed again, but now I was starting to appreciate the tang you get from good canned tomatoes that tasted wrong to me before. When I finally got a tomato sauce “right” it tasted nothing like the sauce I had originally set out to make: after many hours of negotiation, tomato sauce and I had reached a compromise.

A few weeks ago I finally found a salsa recipe that I unequivocally love. Salsa frustrated me for years: how, I kept wondering, could I continue to prefer factory-produced, preservative-laden salsas over something I made myself with fresh produce? But salsa after salsa just didn’t taste right to me. The problem, I finally realized, was texture. I use frozen cherries in this recipe which, after being thawed, have a texture similar to the cooked tomatoes, onions, and peppers in most storebought salsas. The crunchiness of the red onion is a welcome contrast, and its distinctive flavor finds a partner that, for once, can stand up to it in the cherries and chipotle, as does that of the cilantro.

When I made this on Sunday, I drained the cherries before using them and reserved both their juice and the lime juice I didn’t use for a cherry/lime vinaigrette that I’ve been eating with arugula all week. This London Times article recently reminded me that I can still do a better job of getting good mileage out of the food I buy, so this is a nice bonus! From Mark Bittman’s How to Cook Everything Vegetarian, cherry-chipotle salsa:

2 cups pitted cherries (fresh or frozen)
1/2 cup diced red onion
1 tablespoon chopped canned chipotle chiles in adobo sauce
1/2 cup or more chopped fresh cilantro leaves
1 tablespoon extra virgin olive oil
3 tablespoons freshly squeezed lime juice, plus more to taste
salt and freshly ground pepper

1. Put all the ingredients in a medium bowl and stir to combine. Let sit for about 5 minutes, then taste and adjust the seasoning, adding more chile, lime, or salt as needed.

2. Serve immediately or refrigerate for up to a couple of hours. (Bring back to room temperature before serving.)

Link of the Week

A terrific article by Michael Machosky called “City isn’t movie-lover’s paradise, but it could be” ran in Sunday’s Tribune-Review. Machosky’s right: Pittsburgh is a great place to be a movie buff, especially for its size. I’d add two items to his list of things to love: 1) A major university (Pitt) with an impressive film studies program that sponsors all sorts of interesting free events and screenings (to name just three from the last year: “After the Avant-Garde: European Experiments with the Moving Image,” “The Ideological Occult: Russian Cinema Under the Putin,” and “Romanian Cinema on the Edge”), and 2) A respectable number of regular and semi-regular local, experimental, and documentary film events held in a variety of venues other than commercial movie theaters (again, to name just three: Jefferson Presents, Pittsburgh Documentary Salon, and Viewer Discretion).

Machosky is also right about where there’s room for improvement. First, local projectionists adhere to an abysmally low standard–I don’t think I’ve ever seen a movie at either of Squirrel Hill’s two CineMagic theaters that didn’t have something wrong with it. They do a brilliant job of programming those theaters, so it’s a shame they don’t do a better job of presenting the films they bring in. Second, somehow, some way, we have to convince the Carnegie Museum to bring back their film department. Of course, I no more know how to do that than Machosky knows how to convince people to fund a neighborhood theater preservation program. I guess we’re more idea people, he and I. . . .

Rivette! Etc!

I believe I actually yelped this morning when I saw that The Duchess of Langeais (2007), the legendary Jacques Rivette’s most recent film, will open in Pittsburgh tomorrow at the Manor Theater. His films rarely come to town (I can’t remember one playing during the eight years I’ve lived here), so this is an event of sorts. The critics rave:

“The first masterpiece of 2008″ (Glenn Kenny at Premiere.com)

“A nearly impeccable work of art — beautiful, true, profound.” (Manohla Dargis in the New York Times)

Sweeeeeet.

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The Silk Screen Asian American Film Festival, which has been bringing the sort of movies you usually read about on GreenCine Daily but never get to see on the big screen to Pittsburgh for three years now, has announced their 2008 schedule: can you dig it?

I’ve only seen one of these films, Nobuhiro Yamashita’s lovely A Gentle Breeze in the Village (2007). I liked it as least as much as his last movie, Linda Linda Linda (2005), and possibly more–it’s like a gentle . . . breeze. In a village. Of the rest of the slate, I’m most interested in Chop Shop (2007) (Ramin Bahrani’s Man Push Cart (2005), which I enjoyed, played Silk Screen two years ago), Fatih Akin’s The Edge of Heaven (2007) (I loved Akin’s Head-On (2004)), Half Moon (2006) (reviews), Option 3 (2008), Ping Pong Playa (2007), Takva: A Man’s Fear of God (2006), and Tuya’s Marriage (2006) (reviews).

I’m also interested in 5 Centimeters per Second (2007) (although it’s available on DVD already), Amal (2007), Owl and the Sparrow (2007), Ploy (2007), and the Japanese Nikkatsu Action Cinema series at the Warhol (where Tears of the Black Tiger (2000) and Tsai Ming-liang’s I Don’t Want to Sleep Alone (2006) screened to bafflingly small crowds last year), although I could be talked into seeing pretty much anything.

It is by now customary to grouse about how there are too many film festivals in Pittsburgh these days whenever discussing any one in particular, but I’m not willing to say a single bad thing about Silk Screen. They do a magnificent job of spotlighting directors and national cinemas that are woefully underrepresented on local movie screens. I’m really looking forward to this year’s edition of the festival.

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And speaking of a national cinema that is underrepresented on local movie screens, The Russian Film Symposium 2008, “The Ideological Occult: Russian Cinema Under Putin,” will be running pretty much concurrently with Silk Screen. Here’s the schedule. The Friday, May 9 screening of Alexander Sokurov’s very highly regarded Alexandra (2007) (reviews) jumped out at me, being the Pittsburgh premiere of a film I’ve wanted to see for some time and being introduced by Ian Christie and all, but I’m sure that as usual my favorite films will be ones I’d never heard of before. I’m not 100% positive that all of these screenings will be open to the public–I’ll post something more once Filmmakers (these films will be shown at their Melwood Screening Room) puts some more information up on their site.

Updated: All of the Russian Film Symposium events are free and open to the public.

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