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duration=1 H 33Minutes. Germany. actor=Ashley Chen. Director=Alla Kovgan. 7,3 / 10. Movies Review Review Interpretation of the news based on evidence, including data, as well as anticipating how events might unfold based on past events Merce Cunningham is profiled on the documentary “Cunningham. ” (Robert Rutledge/Magnolia Pictures) Rating: (2. 5 stars) In a new documentary about Merce Cunningham, filmmaker Alla Kovgan attempts a delicate dance. On the one hand, “Cunningham” stages many of the pioneering choreographer’s abstract works superbly, capturing the vision of an idiosyncratic artist. On the other hand, when it comes to exploring the man behind the art, the film’s execution feels out of step with its ambition. Cunningham blended the footwork of classical ballet with less traditional movements of the torso to craft a style often labeled as avant-garde, though he shied away from the label. Cunningham launched his career in the late 1930s and was active until his death, at 90, in 2009. The documentary tracks the rise of Cunningham’s New York-based dance company, focusing on dance pieces he created between 1942 and 1972. Peppered throughout the documentary, these sequences feature a fusion of virtuosic choreography, remarkable athleticism and polished filmmaking. (The film’s preferred format is 3-D, though the visuals are still impressive in the 2-D print that will be shown at Landmark’s E Street Cinema. ) By setting the expressive dances in surprising locales — including a lush forest of towering trees, a cobblestone town square and a fluorescent-lit tunnel — Kovgan accentuates the seemingly limitless possibilities of Cunningham’s aesthetic, with visual grandeur. Some dances are presented without music: Accompanied only by the rhythmic patter of footsteps, the camera gracefully glides through long, uninterrupted shots. Kovgan, a Russian filmmaker making her solo feature debut, also creates a sense of scale, using striking aerial footage of dancers performing on a seaside rooftop. In the film’s most memorable number, Kovgan re-creates “RainForest” — a 1968 collaboration with Andy Warhol in which dancers in tattered costumes weave between sleek, silver balloons. Dancers perform a piece by choreographer Merce Cunningham on a seaside rooftop in the documentary “Cunningham. ” (Magnolia Pictures) So what do we learn about the mastermind behind such innovation? Using rehearsal and interview footage, the film presents Cunningham as a difficult genius, less interested in commercial success than pure artistic expression. To compensate for the smaller aspect ratio of the archival footage, Kovgan cleverly fills in the frame with photographs and letters from Cunningham’s life, at times throwing multiple clips on screen simultaneously, and playing them side by side. These elements lend the film the appealing aesthetic of a scrapbook. But the tracking of Cunningham’s career is disappointingly scattershot, barely scratching the surface of the man outside the dance studio. Complicated relationships with collaborators — including composer John Cage, Cunningham’s longtime romantic partner — are mentioned, but not explored in a substantial way. The decision to limit the scope of the documentary to Cunningham’s heyday means we learn little about the roots of his artistry, or the endurance of his legacy. That’s not to say that “Cunningham” even aspires to paint the definitive picture of its subject. What we get, however, isn’t so much a cohesive narrative as it is set pieces, held together by a thin framing device. For a film of such visual audacity, the lack of storytelling depth is frustrating. In Kovgan’s defense, Cunningham may have been too enigmatic to probe with complexity. He had a reputation for being cold and distant, as the movie notes, and his reluctance to explain his art is well documented. “I don’t describe it, ” he says at one point, “I do it. ” Like the man himself, “Cunningham” takes that mantra to heart — for better and for worse. Thomas Floyd Thomas Floyd is a multiplatform editor and contributing writer for The Washington Post. His work has been honored by the Society for Features Journalism, Society of Professional Journalists, American Copy Editors Society and National Arts & Entertainment Journalism Awards. Follow.

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See the History Merce Cunningham pushed the boundaries of dance and art throughout his life. Cunningham's Timeline Engage with Us Lyon Opera Ballet in Summerspace. Photo by Jaime Roque de la Cruz 2012 License a Work The Cunningham Trust stages Cunningham's choreography for professional and student dancers around the globe. Licensing opportunities Cunningham Technique Class. Photo by Ian Douglas 2014 Take a Class The Cunningham Trust offers a daily class in Cunningham Technique. Learn more Merce Cunningham Dance Company in Assemblage. Photo by James Klosty 1968 Contact Us Have a question or request? Contact us.

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At this moment i didnt know what to do with myself Proceeds to put said image as the clickbait. Cunningham Movie watch dogs. Cunningham movie watch live. A remarkable achievement by filmmaker Alla Kovgan, spending seven years to make this classic tribute to the late dancer/choreographer Merce Cunningham.
Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009.
At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018.
Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.

| Nick Allen December 13, 2019 2019 has seen many great documentaries, across the various styles in which to tell a true story. But there’s been nothing quite like Alla Kovgan ’s “Cunningham, ” an exhilarating testament to documentaries as a boundless form of art. A celebration of New York choreographer Merce Cunningham, the film dreams beyond restrictions many visual storytellers seemingly adhere to. As its narrative tells brief bits about Cunningham's life, and puts his other-worldly dance routines center stage while accompanied by flourishes from 20th century avant-garde music, “Cunningham” honors the tools of filmmaking—sound, action, dialogue—with the harmonious blending of three art forms: music, dance, poetry. Advertisement The first words heard from Cunningham are essential to understanding his art, but also to enjoying Kovgan’s film. “I never was interested in dancing that referred to a mood or or a feeling, or in a sense expressed the music... the dancing does not refer, it is what it is. It’s that whole visual experience. ” That statement provides a path that most art doesn't: Don’t interpret. Just watch. It’s an inviting, liberating, intoxicating mindset, and perfect for a movie whose immense pleasure comes from beholding continually inspired creativity, simultaneously from an intentional debut director and an instinctual renowned choreographer. In lieu of a typical structure, Kovgan presents Cunningham's life as like a string of performances, in which we sometimes get to see footage of him doing one (sometimes with close-ups of his massive feet), as matched with a modern dancer (more specifically, a member of the last Cunningham group). The performances are shown chronologically, and span his work from 1942 to 1972 (Cunningham created until 2009, the year he died at age 90). While it is most concerned with the philosophy behind his dances, Kovgan's editing does create some narrative, with audio snippets of students talking about studying with Cunningham, and later forming a troupe that went on tour in 1964 for an international tour in Europe and Asia (where their audiences weren’t always pleased). A decent chunk of the story focus also concerns his relationship with avant-garde composer John Cage, and reflections from students about getting onto Cunningham's wavelength of instinctual movements that come with no explanation. You could accuse Kovgan's film of not having enough connective tissue between some of these story elements, but "Cunningham" never wants to be fulfilling as simply a biography to begin with. The film touches upon some of Cunningham's most famous collaborations, like with the cathartic cacophony of Cage’s music, the pop art of Robert Rauschenberg, or Andy Warhol ’s silver clouds, the metallic balloons shaped like pillows. There are plenty of collaborators that aren’t even mentioned (Brian Eno, Radiohead, Roy Lichtenstein); same goes with the accomplishments and awards Cunningham received. But an emphasis on history is not missed; his work speaks beautifully on its own. In Kovgan’s hands, even archive practice footage feels worthy of a museum. “Cunningham” actively considers the past and present—audio interviews of Cunningham talking about his approach plays over modern-day footage of dancers enacting the philosophies of his words. The routines are the film's true focus, as with one of the first we see: a large empty space with windows for natural light to paint the floor; dancers in pastel-colored leotards are observed by a steady camera that gently goes back and forth with them. The dancers have a precise flow, and the ease of their full-body expressions is just one eye-popping element. Aside from hearing Cunningham’s words (about his interest in “extending movement possibilities” by mixing dance and modern ballet), moments of silence are filled in by a near-meditative sound of feet landing and swiping across the floor. Each aesthetic piece at play demands attention, and it makes for an addictive spectacle. Other routines that follow contain more sounds, more props, more movie. Cunningham’s “RainForest” from 1968, and accompanied by the experimental squeaks by David Tudor, has three dancers in nude-colored, torn tights kicking around Warhol’s silver clouds, all along a reflective floor. In its preservation of his work, "Cunningham" offers one impressive staging after the next, like a piece that has dancers in the woods, or a rooftop at night. Meanwhile, Kovgan's camera becomes its own force, sometimes looking down on the dancers, running side to side with them, or putting its focus on their surroundings. Astonishingly, this is Kovgan’s first feature project, and yet her way of presenting her surplus of footage, photos, and letters is far beyond many of her peers. Many filmmakers would cut from one clip to the next, but Kovgan dares to often put her footage side by side, slightly overlap them like photos dropped on a table, or move the clip itself across the screen. The information of "Cunningham" is always in motion, in defiance of docs that seem to start and stop with each talking head. A similar kinetic effect occurs when archive footage is shown as a smaller box with a larger, defining photo of Cunningham in the background—like watching a video with your computer’s desktop visible in the background, but the two boxes orchestrate a grandiose sense of character with a full, striking image (Kovgan's approach is more like the 21st century storytelling in an " Unfriended " movie than a typical doc). Kovgan proves exceptional at making an audience understand a subject through unconventional filmmaking, just like Cunningham was clearly gifted at filling a stage with ideas, without having to say what it all means. Reveal Comments comments powered by.

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