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The retrospective of films by Shinsuke Ogawa and his collaborators screening at Anthology Film Archives from June 7 to June 18 provides a rare opportunity to see, mostly projected on film, a dozen or so examples of the work of this influential collective, producers of some of the most interesting ethnographic documentaries made anywhere in the world in the last part of the 20th century.
Peter Kubelka discusses pulling pranks on Theodor Adorno, café service in Vienna, and co-founding both the Austrian Film Museum and Anthology.
El Sicario, Room 164 opens with establishing shots inside a sterile, franchise-looking hotel room. Director Gianfranco Rosis low-grade digital camera stops on the hairdryer, the headboard, the TV stand, before introducing the titular subject, an ex-hitman for a Mexican drug cartel, standing in front of the hotel bathroom mirror adjusting the black shroud that hell wear over his head for the duration of the film.