Join La Collectionneuse and Dynasty Typewriter for a special screening of the French art-pop musical ANNA (1967, directed by Pierre Koralnik), the first color film made for French television.
Starring Anna Karina, Serge Gainsbourg (who also wrote the songs), Marianne Faithfull (who sings one of them) and Jean-Claude Brialy, ANNA will be preceded by a Videotheque mix by EXP TV of surreal visuals and yé-yé hits by Jane Birkin, Françoise Hardy, France Gall, and more. The evening will close with a DJ set by Décandanse Soirée.
“Each film has its history, its beauty or not beauty, and its meaning. The meaning can change over the years for people who watch the film, because there is a lot of evolution in the sense of history, the sense of understanding. But when you speak about 35 millimeter or DCP or video, it’s unimportant. The film is what it is, but what is different are the people who made the film…
“I change. I wouldn’t do the same film today about Cuba or about the Panthers or about women. Each film has a date glued to it. And what we try is to overcome the date and make a meaning that can be more than 1962 or 1961 or whatever.” — AgnèsVarda
Varda—mother of the nouvelle vague—was born outside Brussels, made some of her most important films in California, and died this morning at her home in Paris.
Active into her late eighties, local audiences remember many of her recent trips to Los Angeles, presenting retrospectives at the American Cinematheque and LACMA, giving talks at the AFI festival, and receiving a Governor’s Award from the Academy in 2017.
Varda—who directed Cléo de 5 à 7 in Paris in 1961—and her husband JacquesDemy (1931–1990) first came to Los Angeles in 1966, Demy eventually directing Model Shop (1969) and Varda making shorts—Uncle Yanco, Black Panthers—in preparation for her first California feature, the remarkable Lions Love (… and Lies) (also 1969). Varda’s final completed work is the soon-to-be-released documentary Varda par Agnès.
From top: Agnès Varda on the set of Lions Love (… and Lies); Varda shooting her second feature Cléo de 5 à 7 in Paris in the early 1960s, photograph by Roger Viollet; Anouk Aimée (left), JacquesDemy, and Varda in Los Angeles during the shoot of Demy’s Model Shop; scene from Varda’s Black Panthers (1968), shot in Oakland; Sabine Mamou (right) and Mathieu Demy—Varda and Demy’s son—in Varda’s feature Documenteur (1981), shot in Los Angeles; Venice Beach scene from the documentary Mur Murs (1981); Varda and Jane Birkin on set, Jane B. par Agnès V. (1988), photograph by Jean Ber; Varda in Varda par Agnès (2019). Images courtesy Ciné-Tamaris.
“ ‘Fashion’ is such an empty word.” — Dries Van Noten
As is stated by curator Geert Bruloot at the onset of DRIES—the Dries Van Noten documentary directed by Reiner Holzemer—this original member of the Antwerp Six remains an “artisanal designer,” bringing emotion and passion to a field overrun with indistinct “product.”
Van Noten is always looking, eyes wide open to a variety of influences, and a believer in the art of coincidences. Amid the beautiful, flowering brocades, Van Noten introduces what he calls “bad taste,” or “things that hurt the eye.”
“I need contrasts, I need tensions. I need a kind of clash in the collections.” — Van Noten
The film features Van Noten explicating several key runway shows, as well as a look into the visually rich home life Van Noten shares with his longtime partner Patrick Vangheluwe, both of them happily possessed by their possessions.
Also seen and heard from in the film: Iris Apfel, Pamela Golbin, Suzy Menkes, and Jane Birkin.
Jane Birkin is in New York City for a February 1st show at Carnegie Hall. Earlier in the week, she will join Elia Einhorn for a public conversation at the French Institute, followed by a Q&A and book signing of ATTACHMENTS, a collaboration with her longtime friend, photographer Gabrielle Crawford.
JANE BIRKIN IN CONVERSATION, Monday, January 29, at 7 pm.
FLORENCE GOULD HALL, FIAF, 55 East 59th Street, New York City.
“Jacques Becker’s mise en scène flexes the emotions, the way you flex your muscles.” — Bertrand Tavernier
Long before he directed Isabelle Huppert and Philippe Noiret in Coup de torchon, Dexter Gordon in Round Midnight, or Dirk Bogarde and Jane Birkin in Daddy nostalgie, Tavernier was a cinephile par excellence. In his youth he founded a cinema club, wrote for Cahiers du cinéma, was an assistant to Jean-Pierre Melville, a publicist for Raoul Walsh and John Ford, and co-authored the volume 30 ans decinéma américain (and its update 50 ans…, both with Jean-Pierre Coursodon).
And he went to thousands ofmovies: in his hometown of Lyon, at a sanitorium in St. Gervais (recovering from childhood TB), in his boarding school village, and in Paris, a film-lover’s Valhalla. What he saw during those years he’s brought to the screen in his very personal new documentary VOYAGE ÀTRAVERS LECINÉMA FRANÇAIS.
“A remarkable work, made with great intelligence. VOYAGE is enlightening about classic French cinema, and about many forgotten or neglected filmmakers. You are convinced that you know all that by heart, until Tavernier comes along to reveal to us the pure beauty of it all.” – Martin Scorsese
MY JOURNEY THROUGH FRENCH CINEMA/VOYAGE ÀTRAVERS LECINÉMA FRANÇAIS, through July 20.
LAEMMLE ROYAL, 11523 Santa Monica Boulevard, West Los Angeles
Jean Gabin and Arletty in Le jour se lève (1939), directed by Marcel Carné.