I have given up on trying to catch all the films getting rave reviews coming off the festival circuit. The waste of time and money this year was ridiculous. I spent the week between Christmas and New Years Eve catching up on films that have been littering End of Year Awards lists and have not liked most of them. I can be vicious about certain films but I’ll save that for when I get around to opening a Twitter account which will get me in trouble as my sarcastic wit is appreciated by select well-rounded individuals who don’t live or die on box office tallies.
What’s new for APAP as the 2018 annual conference approaches starts with the name of the organization, which as of September has changed (and meanwhile in a way stayed the same). While the acronym APAP remains, it now stands for Association of Performing Arts Professionals – whereas previously it denoted Association of Performing Arts Presenters – and the switch reflects a desire on the part of membership, consequent to a vote held at the 2017 conference last January, to convey an expansion of the mission of APAP as well as a new initiative to include more arts professionals in its membership. This has been the third name change in the 60-plus year history of APAP – it began as the Association of College and University Concert Managers (ACUCM) in 1957, became the Association of College, University and Community Arts Administrators (ACUCAA) in 1973, and since 1988 has been known as the Association of Performing Arts Presenters.
What interesting times we live in. The retail industry is crashing and burning due to e-commerce (Macy’s, Payless, Sears/KMart, Radio Shack, J.C. Penney, The Limited, American Apparel etc.) Greedy landlords who have been jacking rents through the roof for years and leveraged their portfolios to buy more over-priced real estate are now facing the grim reaper as their major anchor tenants have walked away from long term leases. The vulture capitalists are circling the carrion. The unlikely knight in shining armor turns out to be low profit margin supermarkets who have figured out they don’t need 100,000 square feet when 40,000 will do.
WORLDS APART is a small sort of film from Greece with big scope and ambition. The film tells three distinct narratives dealing with three love stories of sort, each representing a distinct generation, and each story involving a Greek National and a foreigner. These three stories are partially unified with recurring motifs. They also overlap with other devices that will not be reviled in this review so not to give away major plot reveals. This structure recalls another film from 2016 which I much enjoyed CERTAIN WOMEN. The use of a love story with universal appeal with its healing powers echoes the early films by Francois Truffaut, a filmmaker I greatly admire.
Once again New York gourmands can welcome in the new year by attending a competition at which there are no losers – the Annual Cassoulet Cook-off at Jimmy’s No. 43, which will hold its 9th iteration on Sunday, January 15th from 1:00-4:00pm. Co-hosted with the Chefs’ Consortium, which will help source local ingredients for the competing chefs, it will feature both professional and amateur chefs vying for prizes from sponsors Wüsthof and Anolon Cookware for people’s and judge’s choice awards.
We have to reach into the world of hip hop to come up with an analysis of the films theatrically released in 2016. As Public Enemy would say “Don’t believe the hype.” At every major film festival, any many of the minor ones, a buzz starts about the “hot film” that’s a must see and a guaranteed award winner come end of the year. Everyone gets hot and bothered and starts repeating this statement which most likely originated with the publicist or sales agent. (I have been both and write mean ad copy for lazy journalists.)