{"id":297011,"date":"2023-09-21T19:05:26","date_gmt":"2023-09-21T19:05:26","guid":{"rendered":"https:\/\/villa-albertine.org\/?post_type=app_event&p=297011"},"modified":"2023-11-21T22:53:12","modified_gmt":"2023-11-21T22:53:12","slug":"french-films-at-metrograph-october-2023","status":"publish","type":"app_event","link":"https:\/\/villa-albertine.org\/va\/events\/french-films-at-metrograph-october-2023\/","title":{"rendered":"French Films at Metrograph \u2013 October 2023"},"content":{"rendered":"\n

Part of The Invisible Threads of Vicky Krieps<\/em><\/strong><\/a><\/h2>\n\n\n\n

“More Than Ever<\/span><\/a>” (2022) \u2013 October 6, 7 & 8<\/strong><\/p>\n\n\n\n

Directed by Emily Atef<\/p>\n\n\n\n

Atef\u2019s intimate and emotionally raw drama stars Krieps as H\u00e9l\u00e8ne, a woman who, having every reason to believe her days are numbered after being diagnosed with a rare lung disease, turns her back on the smothering sympathy of friends and family to meet with a similarly afflicted Norwegian (Bj\u00f8rn Floberg). Rounding out the impeccable cast is Gaspard Ulliel in the role of H\u00e9l\u00e8ne\u2019s husband \u2014 the actor\u2019s penultimate role before his tragic accidental death. North American Theatrical Premiere.

\u201cKrieps\u2019s mesmerizing performance in Atef\u2019s More Than Ever underlines her talent for effortlessly embodying vastly diverse characters. H\u00e9l\u00e8ne (Krieps) and her husband Mathieu (Gaspard Ulliel) lead a joyous yet bustling life in Bordeaux until H\u00e9l\u00e8ne\u2019s health takes a serious turn, and she embarks on a solitary journey to Norway in search of peace and solace. Atef and Krieps collaborate to deliver an unflinching exploration of the limits of love and the unvarnished reality of terminal illness. A film that reflects on the loneliness and despair that inevitably await us all at life\u2019s end, and that courageously embraces fate, without ever succumbing to the allure of melodrama \u2014 and a story made all the more poignant by the tragic death of Ulliel in 2022 during the film\u2019s post-production.\u201d \u2014 Series curator Adeline Monzier<\/em>

\u201cA tale of love and desire, of loss and letting go. About communicating with your partner, and understanding what we cannot understand. About how accepting death can be accepting life. Like a prayer in the wild woods of Norway.\u201d \u2014 Vicky Krieps<\/em>

Introduction and Q&A with Vicky Krieps and director Emily Atef in person on Friday, October 6th at 5:15pm, moderated by series curator Adeline Monzier, and Q&A on Sunday, October 8th at 12:00pm, moderated by film critic Ryan Coleman<\/p>\n\n\n\n

<\/p>\n\n\n\n

“Hold Me Tight<\/span><\/a>” (2021) \u2013 October 8<\/strong><\/p>\n\n\n\n

Directed by Matthieu Amalric<\/p>\n\n\n\n

\u201cIn Amalric\u2019s sixth feature directorial endeavor \u2014 his most audacious to date\u2014Krieps delivers yet another riveting performance as Clarisse, a mother on the run for reasons that aren\u2019t immediately clear. Alternating between Clarisse\u2019s adventures on the road and the perspective of her abandoned husband Marc (Arieh Worthalter) as he cares for their children at home, Hold Me Tight deliberately obscures the line between reality and illusion as it paints a poetic, provocative picture of a woman\u2019s shattered mind. A contemporary tragedy, and a masterful, emotionally gripping exploration of guilt and grief.\u201d \u2014 Series curator Adeline Monzier<\/em><\/p>\n\n\n\n

\u201cMaybe my favorite of all my movies. Its image and editing is pure poetry. It\u2019s brave and unique. It lets the audience become the author, and does what few movies do: invites rather than tells you a story. It\u2019s about love and family, fantasy and madness, grief and growth. And silence.\u201d \u2014 Vicky Krieps<\/em><\/p>\n\n\n\n

Introduction and Q&A with Vicky Krieps on Sunday, October 8th at 3:15pm, moderated by film programmer Delphine Selles Alvarez<\/p>\n\n\n\n

<\/p>\n\n\n\n

Part of Robby M\u00fcller: Remain in Light<\/em><\/a><\/h2>\n\n\n\n

“The American Friend<\/span><\/a>” (1977) – October 13 & 15<\/strong><\/p>\n\n\n\n

Directed by Wim Wenders<\/p>\n\n\n\n

Adapting Ripley\u2019s Game, the third of Highsmith\u2019s Tom Ripley novels, Wenders cast Dennis Hopper as his slippery lead, this time working on an art forgery scheme in Hamburg, where he meets Bruno Ganz\u2019s terminally ill picture framer and seduces the dying man into taking an assassination job. Lucidly and luridly photographed by M\u00fcller, and featuring cameos by Sam Fuller, Nicholas Ray, and Jean Eustache.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Part of Paul Vecchiali, Producer<\/em><\/strong><\/a><\/h2>\n\n\n\n

<\/p>\n\n\n\n

“Encore<\/span><\/a>” (1988) \u2013 October 13 & 15<\/strong><\/p>\n\n\n\n

Directed by Paul Vecchiali<\/p>\n\n\n\n

\u201cOne of Vecchiali\u2019s most moving and formally audacious films, Encore charts a decade in its protagonist\u2019s life, each year visited in a virtuoso 10-minute long take, including a yet to be topped sequence moving on and off the trains of the Paris M\u00e9tro. Boldly breaking the French film industry\u2019s silence surrounding AIDS with its HIV-positive, sexually active hero, the film would have been an inspiration for Luca Guadagnino, whose on-hold Call Me By Your Name sequel is planned to begin with Timoth\u00e9e Chalamet\u2019s character brought to tears as he watches it in the cinema.\u201d \u2014 Series curators Bingham Bryant and Graham Carter<\/em><\/p>\n\n\n\n


“The Strangler<\/span><\/a>” (1970) \u2013 October 21<\/strong><\/p>\n\n\n\n

Directed by Paul Vecchiali<\/p>\n\n\n\n

\u201cVecchiali\u2019s third feature and first masterpiece, The Strangler<\/em> was produced not by him but by its star, Jacques Perrin \u2014 perhaps best known as the love-struck sailor of Demy\u2019s The Young Girls of Rochefort<\/em>. In one of the most idiosyncratic serial killer films ever made, he here plays a traumatized young man set on helping old ladies out of their misery, and obsessively hounded by Julien Guiomar\u2019s almost equally odd detective. Vecchiali takes this purposefully perverse premise and invests every turn and sweep of his dynamic camerawork with poetry, stylistic verve and, most characteristically of all, intense empathy, generosity and love.\u201d \u2014 Series curators Bingham Bryant and Graham Carter<\/em><\/p>\n\n\n\n

Restored with the help of Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC)<\/em><\/p>\n\n\n\n


“Drugstore Romance<\/span><\/a>” (1979) \u2013 October 20 & 21<\/strong><\/p>\n\n\n\n

Directed by Paul Vecchiali<\/p>\n\n\n\n

\u201cA working-class neighborhood melodrama in which a pharmacist (played by perennial Vecchiali muse H\u00e9l\u00e8ne Surg\u00e8re) becomes the amour fou<\/em> object for a much younger mechanic (Nicolas Silberg). Dedicated to the great Jean Gr\u00e9millon, this film is perhaps the most striking example of how Vecchiali and Diagonale synthesized the poetic realism of \u201930s studio films with independent production and a modernist mise en sc\u00e8ne.\u201d \u2014 Series curators Bingham Bryant and Graham Carter<\/em><\/p>\n\n\n\n


“Femmes Femmes<\/a>” (1974) \u2013 October 27 & 28<\/strong><\/p>\n\n\n\n

Directed by Paul Vecchiali<\/p>\n\n\n\n

\u2018The best film of the best decade of French cinema.\u2019 \u2014 Serge Bozon. A riotous, effortlessly hysterical comedy of misfortune and disaster, about a pair of aging actresses adrift in a sea of alcoholism and memories played by two of Vecchiali\u2019s favorite performers, H\u00e9l\u00e8ne Surg\u00e8re and his sister Sonia Saviange. Pier Paolo Pasolini was also a fan, and would have the duo reprise their roles and one of their routines in his final film Sal\u00f2, or the 120 Days of Sodom<\/em>.\u201d \u2014 Series curators Bingham Bryant and Graham Carter<\/em><\/p>\n\n\n\n

<\/p>\n\n\n\n

Part of First & Last<\/em><\/strong><\/a><\/h2>\n\n\n\n


“La Pointe-Courte<\/a>” (1955) \u2013 October 28 & 29<\/strong><\/p>\n\n\n\n

Directed by Agn\u00e8s Varda<\/p>\n\n\n\n

By many reckonings a New Wave film before the term New Wave had been invented, Varda\u2019s daring debut, made after her years as official photographer for the Th\u00e9\u00e2tre Nationale Populaire in Paris, was shot in the Mediterranean port city of S\u00e8te, where the director spent part of her youth. Its two narratives strands \u2014 one a neorealism-inspired story of the hardscrabble lives of local fishermen, the other following recriminations and reconciliations of a married couple (Philippe Noiret and Silvia Monfort) \u2014 travel parallel lines while never quite overlapping, a still-singular structural conceit borrowed from William Faulkner\u2019s The Wild Palms<\/em>.<\/p>\n\n\n\n


“Varda by Agn\u00e8s<\/a>” (2019) \u2013 October 28 & 29<\/strong><\/p>\n\n\n\n

Directed by Agn\u00e8s Varda, Didier Rouget<\/p>\n\n\n\n

In what would be her final film, which draws upon archival footage, clips drawn from the whole of her filmography, and an abundance of onstage interviews and lectures, Varda offers a guided tour of her remarkable life, from her early years as a still photographer, her fiction and documentary film work, to her late-in-life turn to gallery installation pieces. A tender farewell from an artist to her audience as well as a summation of an eternally curious, tirelessly experimental, and steadfastly politically engaged career. \u201cA breathtaking self-portrait by an artist at the height of her powers.\u201d \u2014 Artforum<\/em><\/p>\n\n\n\n

<\/p>\n\n\n\n

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