Adapted from the roman à clef by Klaus Mann (son of Thomas), MEPHISTO—directed by István Szabó and based on Gustaf Gründgens, the great German actor, extreme political opportunist, and Klaus’ former brother-in-law—traces the simultaneous rise and fall of Hendrik Höfgen, a leftist thespian (played by Klaus Maria Brandauer) who becomes the toast of Nazi Berlin for his portrayal of Goethe ’s Mephistopheles.
“In the energy they bring to the film, Brandauer and Szabó have made a mighty statement, but it is as much about acting, I think, as Nazism. In Höfgen, we see an empty man, standing for nothing. This doesn’t even bother him.” — Roger Ebert
This week at the Egyptian, the American Cinematheque and Kino Lorber present a screening of the 4K restoration of MEPHISTO—winner of the Academy Award for Best-Foreign Language film—on a double bill with the 4K restoration of Szabó’s Silver Bear winner CONFIDENCE (1980).
THE IRISHMAN actually started about thirty-five years ago with the idea of the remake of TheBad and the Beautiful and the sequel Two Weeks in Another Town. Somehow we exhausted that. And so when [RobertDe Niro] came across this story and gave it to me, he said: “You know, this is an amazing part for Joe, if he wants to do it.” And also for Al Pacino—and I never worked with Al all these years, you know? We just knew that they were right for it. And then we looked at each other and realized we were meant for this somehow. It’s not necessarily a culmination, but a sense of contemplation of where we are, near the end of our lives. — MartinScorsese
To open the American Cinematheque seriesThe Films of Marty and Bob,Scorsese and De Niro will participate in a full discussion about forty-five years of cinematic collaboration, followed by a screening of their latest masterpiece THEIRISHMAN.
Adam Driver will be at the Egyptian Theatre this weekend for a between-film conversation. The American Cinematheque presentation on Sunday of Noah Baumbach’s acclaimed MARRIAGE STORY and JimJarmusch’s underseen gem PATERSON begins at 7:30 pm, with Driver taking the stage shortly before 10.
Three words are important to me: inspiration, creation, and sharing… I don’t care if my films make money. I care that my films are seen and are loved. — Agnès Varda
“My mother was very funny—left wing but not politically correct. We traveled a lot together. She was so curious and she loved gossip. Qui baise qui?…
“Agnès was 89 when we started VARDA BY AGNÈS. She had lung cancer and we could only work three hours a day. This film was so difficult, going from the editing room to the hospital to the editing room…
“My mother would say, Don’t complain too much. Do it. We work hard, but it should look easy. We should not show the ‘work.’ — Rosalie Varda, Agnès’ daughter and a co-producer of VARDA BY AGNÈS, in conversation with Ava DuVernay*
Agnès Varda didn’t like or use the word “master” to refer to herself or her work—what she called her cinéma écriture—but VARDA BYAGNÈS, her final film, is undeniably a master class in cinema, and a “characteristically playful, profound, and personal summation of the director’s own brilliant career.”
Now playing at the Aero Theatre, these American Cinematheque screenings of VARDA BYAGNÈS will be introduced by a variety of guests, including Illeana Douglas, Julie Delpy, Chloe King, Lisa Blok-Linson, LynneLittman, Jim McBride, and Peter Debruge. See link below for details.
Later this month, VARDA BY AGNÈS opens at the Laemmle Glendaleand Playhouse.
Philip Kaufman has never done anything like this, but his experiment is a success in tone. He has made a movie in which reality is asked to coexist with a world of pure sensuality, and almost, for a moment, seems to agree. — Roger Ebert, 1988
Following an American Cinematheque 35mm presentation of Kaufman’s masterwork THE UNBEARABLE LIGHTNESS OFBEING—co-written by Jean-Claude Carrière—join Juliette Binoche and the writer-director for a post-screening Q & A.