Nick Pinkerton

  • Nobuo Nakagawa, Ghost Story of Yotsuya, 1959, 35  mm, color, sound, 76 minutes. Iemon Tamiya, Takuetsu, and Iwa (Shigeru Amachi, Jun Ôtomo, and Katsuko Wakasugi).
    film February 25, 2013

    Fast, Cheap, and Under Control

    THE MIDCENTURY JAPANESE avant-garde is an undeniable presence in New York City right now. The Museum of Modern Art’s “Tokyo 1955–1970: A New Avant-Garde” show, in conjunction with a film program on “Art Theater Guild and Japanese Underground Cinema, 1960–1986,” wraps up this week, just as Anthology Film Archives prepares to screen “Rituals in the Avant-Garde: Film Experiments in 1960s–70s Japan.”

    With a program highlighting gems amid the trashy cinematic gewgaws of Shintoho Company, Japan Society’s “Into the Shintoho Mind Warp: Girls, Guns & Ghosts from the Second Golden Age of Japanese Film,”

  • Left: Michael Glawogger, Megacities, 1998, still from a color film, 90 minutes. Right: Michael Glawogger, France, Here We Come!, 2000, still from a color film, 80 minutes.
    film April 17, 2012

    Messy and Vital

    “THE ABSURD IS THE CULTURAL HERITAGE OF ALL MANKIND,” says a man who identifies himself as SuperBarrio Gomez, declaiming to the slums of Mexico City while wearing the flamboyant uniform of a masked lucha libre wrestler, as though to illustrate his own point. SuperBarrio Gomez is one of hundreds of subjects in Austrian Michael Glawogger’s sensory overload Megacities (1998), a sui generis global-symphony film that displays its author’s intrepid, incurably curious camera and his dab-handed editing from the opening set piece sequence, which follows a train through Mumbai’s Govandi slums, breaking