GETTING BACK TO ABNORMAL
'Getting Back To Abnormal' premiered at SXSW 2013 and is an intimate look at race, politics and culture in post-Katrina New Orleans. Five years after the storm, New Orleans has changed. It is less black and less poor, and one polarizing white politician has become a lightning rod for all things racial. Councilperson Stacy Head, a self-styled corruption fighter, takes her sometimes jaw-droppingly politically incorrect style into the tribal world of New Orleans politics as she fights to maintain her seat in a black majority district. Weaved into the narrative are stories about housing, and commentary from only-in-New Orleans armchair philosophers.
JULES ET JIM (1962)
In Paris, before WWI, two friends, Jules (Austrian) and Jim (French) fall in love with the same woman, Catherine. But Catherine loves and marries Jules. After the war, when they meet again in Germany, Catherine starts to love Jim... This is the story of three people in love, a love which does not affect their friendship, and about how their relationship evolves with the years. (IMDB)
Read Roger Ebert's review:
GUEST CURATOR: HENRY GRIFFIN
Henry Griffin is one of New Orleans' most prolific cinephiles, and we’re glad to have him on board as an Indywood Guest Curator. In April, Indywood will screen four films chosen by Mr. Griffin, and each week he'll give a talk back before the show about the history of the film you're about to see and why it's important.
Henry was the Vice President of the New Orleans Film Society for three years and he is currently artist-in-residence in the Film & Theatre Department at UNO. He is a screenwriter, director and actor. He’s known locally as a regular on HBO's Treme. He has rated 5,360 movies on Netflix.
Other Films Chosen by Henry:
The 39 Steps
F for Fake
BLUE IS THE WARMEST COLOR (2013)
Adele's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself and ultimately finds herself through love and loss.
Aspiring rock musician Neal Downs manages a cereal bar in New Orleans. Stylish Miss Pussy Katz is the creator of radically-themed art clothing. When the cereal bar, brings in an offbeat crew of locals, who debate the arcana of cereal history and ideal milk/flake ratios, an aspiring capitalist rips off their concept.
New York Times Movie Review:
The best way I've heard this film described is that it's a feminist horror film, and I've noticed when you talk about it with women they laugh and with men they cringe. IMDB says: Still a stranger to her own body, a high school student discovers she has a physical advantage when she becomes the object of male violence.
New York Times Movie Review:
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