Fassbinder's The Third Generation is both his Mabuse and his La Chinoise, the logic of paranoia and the serious comedy of revolutionary romanticism; today at MoMA Film at 1:30p.m.
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The Dead Don't Die

Because there's nothing funny about the administrations on either side of him.

“In Our Day,” the latest feature by the South Korean director Hong Sangsoo, “exemplifies his singular style: in its simplicity, it turns out to be immensely complex,” Richard Brody writes. nyer.cm/el8OcaG

Irving Lerner's Murder by Contract is chilly, sardonic, and socially analytical, revulsed and fascinated, all with an air of purse-lipped documentary; at
2:10p.m. at The Paris Theater newyorker.com/goings-on-abou…

Hong Sangsoo's In Our Day, opening tomorrow at Film at Lincoln Center, a highlight of last year's NYFF, has a distinctive, melancholy place in his oeuvre: a late film on death and futility, on the wisdom that artists dispense because they can't take it with them:
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Reading Justin Chang on Megalopolis makes me even more impatient to see it than I already was, and the time-stopping power therein described makes me wonder whether, um, Francis Ford Coppola saw The Future.

With “Megalopolis,” Francis Ford Coppola has made “a declamatory epic, in which the actors recite as much as they perform, and meanings are not suggested but superimposed, with baldly allegorical intent, over thickets of narrative,” Justin Chang writes. nyer.cm/y0SyxUS

Daisy Miller is better; The Last Picture Show is inspired professionalism, Daisy Miller is uninhibitedly daring yet thrillingly precise inventiveness—a delicate blend of wildly divergent tones, a camera style to channel James without a whiff of stuffiness: newyorker.com/culture/richar…

If I wanted to convince people that Andrew Sarris was a great film writer, I'd probably show them his 1969 review of PIERROT LE FOU: a-bittersweet-life.tumblr.com/post/419423542…

What does 'Pirandellian' mean? According to the Taviani brothers, it means Kaos, as seen today at Quad Cinema at 1 and 6:30p.m.; a supreme masterwork:
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The fundamental difference between classic-era Cahiers du Cinéma and Positif isn't politics, style, or way of analysis; it's the difference between Cahiers and all other critics, who thought like critics whereas those at Cahiers (those who made its name) thought like filmmakers.

Word on some extraordinary new jazz albums—rediscoveries from Alice Coltrane, Sonny Rollins, and Art Tatum, and a wonderful new recording from Charles McPherson: 
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