Tag Archives: Pierre Clementi

PETER EMMANUEL GOLDMAN — ROUE DE CENDRES

An extraordinary black-and-white film shot in Paris in 1968, ROUE DE CENDRES / WHEEL OF ASHES is a film that haunts you long after you have left the cinema. Peter Emmanuel Goldman is really a forgotten American genius. — Henri Sera, Theiapolis Cinema

Pierre Clémenti is sensational. He’s not acting: he’s living his part. Diaphanous, plagued by an inner fire, his cheeks hollow, he is in close communion with the filmmaker and his quest. Just as in ECHOES OF SILENCE, Goldman’s vision brings us beyond the image into a world of palpitations and callings. — Jean-Louis Bory, 1971, Le Nouvel Observateur

ROUE DE CENDRES / WHEEL OF ASHES

Friday, November 15, at 8 pm.

Tuesday, November 19, at 4:30 pm.

Museum of Modern Art

Roy and Niuta Titus Theater 2

11 West 53rd Street, New York City.

Peter Emmanuel Goldman, Roue de cendres / Wheel of Ashes; Pierre Clémenti and Katinka Bo. Images courtesy and © the filmmaker and the actors.

PASOLINI AT THE AERO

Ahead of the belated Los Angeles release of Abel Ferrara‘s ingenious Pasolini biopic, the American Cinematheque and Luce Cinecittà celebrate the great Italian filmmaker in the program The Passion of Pier Paolo Pasolini.

The director—a radical public intellectual who embraced a vivid cinematic treatment of fable-into-allegory as a means to circulate his poetry to a wider audience—made twelve features before his death at age 53. Nine of them will screen at the Aero, all in 35mm.

Pasolini’s epic “Trilogy of Life” is here—THE DECAMERON, THE CATERBURY TALES, and ARABIAN NIGHTS—as well as his earlier mythology series: OEDIPUS REX, TEOREMA, MEDEA (with Maria Callas), and the rarely screened PIGSTY, starring Pierre Clémenti and Jean-Pierre Léaud.

The retrospective will open with SALÒ—Pasolini’s polarizing take on Sade’s 120 Days of Sodom—and close with perhaps the most straightforward Christ-story ever told, THE GOSPEL ACCORDING TO ST. MATTHEW (1964).

SALÒ and PIGSTY

Thursday, May 16, at 7:30 pm.

THE DECAMERON and OEDIPUS REX

Friday, May 17, at 7:30 pm.

THE CANTERBURY TALES and TEOREMA

Saturday, May 18, at 7:30 pm.

ARABIAN NIGHTS and MEDEA

Sunday, May 19, at 7:30 pm.

THE GOSPEL ACCORDING TO ST. MATTHEW

Monday, May 20, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Pier Paolo Pasolini, from top: The Decameron; Silvana Mangano and Terence Stamp in Teorema (2); Maria Callas and Pasolini (right) in 1969 on the set of Medea; Pierre Clémenti in Pigsty; Pier Paolo Pasolini, Trilogia della vita, edited by Giorgio Gattei (Bologna: Cappelli, 1975), still from Arabian Nights on the cover, courtesy and © Cappelli; Pasolini as Geoffrey Chaucer in The Canterbury Tales, reading Boccaccio’s Il Decameron; Salò.

VAGINAL DAVIS PLAYS L.A.

In theory, the Saturday night Nico tribute WARHOL ICON took place all over the Broad Museum and its courtyard, and circulation was encouraged. But when the museum doors opened at 8:30, performance artists Sheree Rose and Ron Athey, filmmaker Eliane Lima, and 200-plus revelers made a beeline for Oculus Hall and stayed put for the next two hours, worshiping at the altar of Vaginal Davis. (Three hours, if you count the stirring after-set by Kembra Pfahler, a bewigged pile-up out of Faster Pussycat, Kill, Kill.)

PhilippeGarrel’s La Cicatrice intérieure/The Inner Scar is a film about circles: fire circles, camera circles, drug circles, circles of anguish, circular time. Starring Garrel’s then-partner Nico (shrouded) and PierreClémenti (nude throughout), the film served as a mesmerizing entr’acte to Parts 1 and 2 of the headliner’s brilliant performance. Some highlights from Davis’ monologue:

“Beware the cautionary tale of taking positions of power you initially fought against.”

“ ‘Pull yourself up by your bootstraps’ is Danger Capitalism for ‘Let them eat cake.’ ”

“In Berlin there are backrooms in the organic supermarkets.”

“Good boys are naked boys.”

“You shouldn’t speculate about the future if you can’t speculate about the past.”

“Freud and Lacan had it all wrong. Dildo Theory is different from the Theory of the Phallus. The penis is, and always was, just one of many substitutes for the dildo. And not, I might add, a particularly reliable or attractive one.”

Upcoming Summer Happenings at the Broad include Strange Forest (July 19), Oracle (August 26), and Basquiat (September 23).

thebroad.org/programs

Also see: blog.vaginaldavis.com/

Vaginal Davis at Warhol Icon, Oculus Hall, The Broad, June 24, 2017.

Photographs by Priscilla Mars, courtesy of The Broad.

Davis 1

Davis 2

NICO AT THE BROAD

Christa Päffgen grew up to the sounds of Allied planes dropping bombs on her native Cologne. She was given the name Nico by photographer Herbert Tobias when she was 16 years old and modeling in Berlin.
She worked with Fellini (La Dolce vita), sang the title song for the film Strip-tease (1963), performed at the Blue Angel in Manhattan, met Brian Jones and Dylan, and became the “chanteuse” (Andy Warhol’s term) for The Velvet Underground.
The spirit of Nico will echo throughout the Broad Museum this weekend at WARHOL ICON, the first of this year’s “Summer Happenings.” The event will include musical performances by Jenny HvalKembra PfahlerRose McDowallTiny Vipers and Geneva Jacuzzi, and performance artist Vaginal Davis will interact with a rare screening of La Cicatrice intérieure/The Inner Scar (directed by Philippe Garrel, and starring Nico and Pierre Clementi.)

WARHOL ICON, Saturday, June 24, at 8:30 pm.

THE BROAD, 221 South Grand Avenue, downtown Los Angeles.

Nico, The Velvet Underground, Andy Warhol's Exploding Plastic Inevitable.

Nico, The Velvet Underground, Andy Warhol’s Exploding Plastic Inevitable.