Join newportFILM for a special tribute screening of “Bill Cunningham New York” at OceanCliff… with this year’s 3rd annual Picnic Contest!!
Thursday, August 4
Ocean Cliff Hotel and Resort Lawn
65 Ridge Road, Newport
6:15 PM – Venue & food vendors open (picnic contest set-up begins, see below for details)*
7:00 PM – Pre-film live music featuring La Méchante et le Connard
8:15 PM (sunset) – Film, followed by conversation with Patrick McMullan (photographer, Vanity Fair contributer, and New York Magazine “Party Lines” columnist)
SUGGESTED DONATION: $5
RSVP & Watch Trailer: bit.ly/BillDoc
MORE IMPORTANT DETAILS:
– Free popcorn courtesy of Kiel James Patrick
– Cash bar on-site – cocktails, beer, wines by the glass or bottle available
– On-site food vendors: Boru Noodle Bar, Acacia Cafe Food Truck, Lemons Aid & Tricycle Ice Cream
– BYO picnic, blankets & chairs
– Bike racks on-site provided by Bike Newport
*3rd ANNUAL PICNIC CONTEST!
presented by RIB & RHEIN
“I’ve said many times, that we all get dressed for Bill.” – Anna Wintour, Editor-in-Chief of Vogue
THEME: Get (Your Picnic) Dressed For Bill… In BLUE!
To pay homage to Bill Cunningham’s signature blue workman’s jacket, this year’s newportFILM Outdoors picnic contest will be judged on the most creative use of blues, keeping in mind Bill’s eye for capturing the “ordinarily fascinating.”
Let’s turn Oceancliff’s grand green lawn to blue!
The top three picnic spreads will be acknowledged with fabulous prizes.
Thomas & Erin Ribeiro, RIB & RHEIN
Kiel James Patrick & Sarah Vickers
Bettie Pardee, author of “Living Newport: Houses, People, Style”
ABOUT THE FILM:
“We all get dressed for Bill,” says Anna Wintour about Bill Cunningham, the 80-year-old New York Times photographer and unlikely man-about-town. Cunningham has two weekly columns in the Style section of The New York Times: “On The Street,” in which he identifies fashion trends as he spots them emerging on the street; and “Evening Hours,” his ongoing coverage of the social whirl of charities that benefit the cultural life of the city. The result is far from simple picture taking—it is cultural anthropology.
Still, no one knows a thing about Bill Cunningham, the man himself. Intensely private and averse to any kind of attention, it took filmmaker Richard Press and producer Philip Gefter years to convince Bill to be filmed. Using only small consumer cameras and no crew, Bill Cunningham New York has the intimacy and immediacy of a home movie.
BILL CUNNINGHAM NEW YORK chronicles a man who is obsessively interested in only one thing—the pictures he takes that document the way people dress. Bill has lived in the same small studio above Carnegie Hall for fifty years, never eats in restaurants and gets around on a worn-out bicycle—his sole means of transportation. The contradiction of his monk-like existence and the extravagance of his photographic subject matter is one aspect of his private life revealed in the movie.
A sartorial Weegee, habitually dressed in a blue work jacket, Bill Cunningham has tried to live his life as an unencumbered man. He wants only his independence to be able to point his camera when beauty crosses his path. With this singular goal, he has managed to create a poignant and ongoing chronicle of the intersection of fashion and society in New York over fifty years—in effect, a portrait of New York City itself.