{"id":58779,"date":"2022-02-24T19:29:00","date_gmt":"2022-02-24T19:29:00","guid":{"rendered":"https:\/\/villa-albertine.org\/events\/women-rights-month-opens-marguerite-duras-retrospective-american-cinematheque\/"},"modified":"2023-08-23T07:39:34","modified_gmt":"2023-08-23T07:39:34","slug":"women-rights-month-opens-marguerite-duras-retrospective-american-cinematheque","status":"publish","type":"app_event","link":"https:\/\/villa-albertine.org\/va\/events\/women-rights-month-opens-marguerite-duras-retrospective-american-cinematheque\/","title":{"rendered":"Marguerite Duras in Los Angeles: A retrospective presented by Mezzanine and the American Cinematheque"},"content":{"rendered":"<blockquote>\n<p>\u201cWhat appears in my films is the language of women, the action of women. The men are forced to follow\u2026. It\u2019s already the beginning of an inverted world.\u201d \u2013 Marguerite Duras<\/p>\n<\/blockquote>\n<p><em>Co-presented by the Consulate General of France and Villa Albertine in Los Angeles<\/em><\/p>\n<p>A major literary figure in 20th century France, Marguerite Duras was also one of the most original filmmakers of her day, responsible for a trailblazing body of work that is still neglected in the US. Unlike her contemporaries of post-1968 cinema like Agnes Varda, Chantal Akerman, and Nelly Kaplan, Marguerite Duras was already a successful novelist with a keen interest in deconstructing her own writing on screen when she made her directorial debut. Following her monumental first screenplay for <em>Hiroshima, Mon Amour<\/em> (1959), she spent ten years screenwriting film adaptations of her own novels, directed by the likes of Jules Dassin, Tony Richardson, and Peter Brook. At the age of 55, Duras directed her first feature, <em>D\u00e9truire, dit-elle<\/em>, (1969), and she continued to develop an inimitable filmmaking style over the next 25 years. As a writer\/director interested in exploring the intersections of colonialism, female sexuality, and the language of film itself, her influence can be felt within the work of contemporary filmmakers like Claire Denis, who has referred to Duras as an \u201cintellectual hero.\u201d\u00a0<\/p>\n<h3>Program:<\/h3>\n<h3><strong>AMERICAN CINEMATHEQUE | \u201cDestroy, She Said: A Marguerite Duras Retrospective\u201d | March 1st &#8211; March 23, 2022<\/strong><\/h3>\n<p><strong><em>D\u00e9truire, dit-elle<\/em><\/strong><strong>\u00a0<br \/>\nTuesday, March 1, 7pm\u00a0<br \/>\nLos Feliz Theater 3\u00a0<\/strong><\/p>\n<p>Elizabeth Alione is sinking into a deep melancholy when she drags down the corridors, the park, and the dining room of a hotel.<\/p>\n<p>France, 1h30, 1969<\/p>\n<p>Get your tickets <a href=\"https:\/\/www.americancinematheque.com\/now-showing\/destroy-she-said-3-1-22\/\">here<\/a>.<\/p>\n<p><strong><em>D\u00e9truire dit-elle<\/em> \/ <em>Le Navire Night<\/em><br \/>\nSunday, March 6, 7:30pm<br \/>\nAero Theatre, Santa Monica<\/strong><\/p>\n<p><strong><em>Le Camion\u00a0<\/em><br \/>\nTuesday, March 8, 10pm<br \/>\nLos Feliz Theater 3<\/strong><\/p>\n<p>In this most conversational and personal of films, director Marguerite Duras and actor Gerard Depardieu do an on-camera read-through of a movie script. Occasionally, the director comments about the characters, as does the actor. As the reading progresses, Duras reflects bitterly on the failed ideals of communism.<\/p>\n<p>France, 1h20, 1977<\/p>\n<p>Get your tickets <a href=\"https:\/\/www.americancinematheque.com\/now-showing\/le-camion-3-8-22\/\">here<\/a>.<\/p>\n<p><strong><em>Le Navire Night\u00a0<\/em><br \/>\nTuesday, March 15, 10pm\u00a0<br \/>\nLos Feliz Theater 3\u00a0<\/strong><\/p>\n<p>Each night in Paris, hundreds of men and women anonymously use unlisted telephone lines that date from the German Occupation to talk to\u2014and love\u2014each other.<\/p>\n<p>France, 1h34, 1979\u00a0<\/p>\n<p>Get your tickets <a href=\"https:\/\/www.americancinematheque.com\/now-showing\/le-navire-night-3-15-22\/\">here<\/a>.<\/p>\n<p><strong><em>India Song<\/em><br \/>\nTuesday, March 22, 7pm\u00a0<br \/>\nLos Feliz Theater 3<\/strong><\/p>\n<p>Anne-Marie (Delphine Seyrig) is the wife of the French ambassador to India in the 1930s. Growing bored with the oppressive lifestyle she leads, she begins to compulsively sleep with other men to alleviate her situation. Her husband knows of her indiscretions, but is tolerant of her promiscuity.<\/p>\n<p>France, 1h35, 1975<\/p>\n<p>Get your tickets <a href=\"https:\/\/www.americancinematheque.com\/now-showing\/india-song-3-22-22\/\">here<\/a>.\u00a0<\/p>\n<p><strong><em>Hiroshima Mon Amour\u00a0<\/em><br \/>\nTuesday, March 22, 10pm\u00a0<br \/>\nLos Feliz Theater 3\u00a0<\/strong><\/p>\n<p>A young French actress is making an anti-war film in the rebuilt Japanese city of Hiroshima, which was devastated in a nuclear bomb blast at the end of the Second World War. While there, she has an affair with a Japanese architect, though both of them are happily married. The actress admits that she will soon have to fly back home to Paris, but she spends one last night with her lover. At a caf\u00e9, she recounts the story of her first tragic love with a German soldier during the war\u2026<\/p>\n<p>France, Japan, 1h30, 1959<\/p>\n<p>Get your tickets tickets <a href=\"https:\/\/www.americancinematheque.com\/now-showing\/hiroshima-mon-amour-3-22-22\/\">here<\/a>.<\/p>\n<h3><strong>MEZZANINE | A screening of <\/strong><strong><em>Nathalie Granger<\/em><\/strong><strong> | March 23, 2022<\/strong><\/h3>\n<p><strong><em>Nathalie Granger<\/em><br \/>\nWednesday, March 23, 7:30pm<br \/>\n2220 Arts+Archives<br \/>\n2220 Beverly Blvd<br \/>\nLos Angeles, US 90057<\/strong><\/p>\n<p>In a country house, Jeanne Moreau and Lucia Bos\u00e8 sit and wait for their daughters to return home, only to be visited by a bumbling salesman (G\u00e9rard Depardieu) who seems unable to leave.<\/p>\n<p>Mezzanine is excited to host a rare screening of Duras&#8217; fourth feature, among her most accessible and piercing films\u2014a wry black-and-white minimalist portrait of female domestic ritual and torpor, predating Chantal Akerman\u2019s <em>Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles<\/em> by several years but sharing a deft formal elasticity.\u00a0<\/p>\n<h3>Imported 16mm print!<\/h3>\n<blockquote>\n<p>\u200b\u200b\u201cA neglected early feature by Marguerite Duras, produced by Luc Moullet, full of poker-faced, absurdist humor and deceptive sound cues\u2026It\u2019s hard to describe this beautiful miniature, but somehow it reduces the whole modern world to audiovisual shorthand; Duras\u2019 verbal and visual terseness has seldom been put to better use.\u201d -Jonathan Rosenbaum, <em>Chicago Reader<\/em><\/p>\n<\/blockquote>\n<blockquote>\n<p>&#8220;In my view, the cinema was built on the defeat of the written word. Its crucial and decisive attraction lies in this massacre. Because this massacre is precisely the bridge that takes you to the very place of all reading. And still further: to the very place of subjection full stop, which suggests all existence experienced in current society. One could put it another way: that youth&#8217;s almost universal choice of the cinema is a choice\u2013conscious or intuitive\u2013of a political kind. That wanting to make films means precisely wanting to go straight to the place of one&#8217;s subjection: the viewer. And doing this by avoiding\u2013by destroying\u2013the always privileged stage of writing.&#8221; -Marguerite Duras<\/p>\n<\/blockquote>\n<h3>Presented by:<\/h3>\n<p><strong>Stephanie LaCava<\/strong> is a writer based in New York City. Her debut novel <em>The Superrationals<\/em> was published by Semiotext(e) in 2020. <em>I Fear My Pain Interests You <\/em>is forthcoming from Verso this September. She is the founder and publisher of Small Press books, which will release an English translation of counterculture actor\/filmmaker Pierre Clementi\u2019s memoir and prison journals: <em>Quelques messages personnels <\/em>(translated by Claire Foster), this fall.<\/p>\n<p>Get your tickets <a href=\"https:\/\/dice.fm\/event\/pedn8-screening-nathalie-granger-by-marguerite-duras-23rd-mar-2220-arts-archives-los-angeles-tickets\"><u>here<\/u><\/a><\/p>\n","protected":false},"featured_media":58775,"menu_order":0,"template":"","app_discipline":[219,213],"app_city_tax":[220],"app_event_type":[239],"class_list":["post-58779","app_event","type-app_event","status-publish","has-post-thumbnail","hentry","app_discipline-cinema","app_discipline-literature","app_city_tax-la","app_event_type-film"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Marguerite Duras in Los Angeles: A retrospective presented by Mezzanine and the American Cinematheque - Villa Albertine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/villa-albertine.org\/va\/events\/women-rights-month-opens-marguerite-duras-retrospective-american-cinematheque\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marguerite Duras in Los Angeles: A retrospective presented by Mezzanine and the American Cinematheque - Villa Albertine\" \/>\n<meta property=\"og:description\" content=\"\u201cWhat appears in my films is the language of women, the action of women. 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