#pierre gillet

[eurovision-revisited]

1995 Dublin - Number 6 - Teddy Laventure - "Soleil et lune"

It was RTBFs turn to organise the Belgian national final in 1995. They missed out in 1994 owing to relegation, but they were back with a somewhat slimmed down, and much more exclusively French-speaking national final. Unfortunately there are still no online versions of the final available, but there is audio (thank you harperbabes!).

This is Teddy Laventure. Not a person, but a band. They had been performing under the name of Glacier Georges since the late 1980s, but changed name and record label, and added singer Thérésa Lagerval in the early 1990s. Very much an 80s style electronic art rock band with lots to say about love and intergender relations, their lead member and keyboardist Pierre Gillet had his routes in the Belgian New Wave scene and the band Polyphonic Size. Their only other release under the Teddy Laventure name was a single in 1992 called L'Oiseau Rebelle for which there is a YouTube video - so at least we can see them.

Perhaps as one final throw of the dice to make a go of it in the Belgian music industry, they entered the Belgian national final in 1995, the result being Soleil et lune. While it's not quite Moldova 2023, it's definitely very appealing to me because a) staccato strings and b) prominent accordion. I'm not sure how much better it would have performed at Eurovision 1995, but it would surely have stood out among all the ballads.

However Belgium has a knack of having national finals full of diverse and interesting entries but still picking the least interesting one. Teddy Laventure's innovations were consigned to eighth place by the jury out of ten entrants, and served as the swansong for the band.

Pierre Gillet went on to work for Jeff Bodart, but otherwise this is a case of a band giving it one last go before sadly packing it in.

I really like this - it's a pretty, catchy, whimsical thing.

[nesiacha]

230 years ago on this day of 12 Thermidor 12 revolutionaries were executed . Rest in peace Leleu Charles- Nicolas, Nicolas Léopold-Charles, Lechenard Jean-François, Teurlot or Torlot Claude-François , Queniard Pierre-François, Cietty or Scietty Pierre ,Lahure Jean-Etienne,Camus, Gillet- Marie Pierre -Eutrope,Arthur Jean-Jacques ,Friry Antoine,Grillet Jean-Baptiste. Here a link to better know them https://www.amis-robespierre.org/Les-12-victimes-du-12-Thermidor-an

[sieclesetcieux]

Collaborative Masterpost on Saint-Just

Primary Sources

Oeuvres complètes available online: Volume 1 and Volume 2

A few speeches

L'esprit de la révolution et de la constitution de la France (1791)

Transcription of the Fragments sur les institutions républicaines (1800) kept at the BNF by Pierre Palpant

Alain Liénard's edition and transcription of his works in Théorie politique (1976)

Some letters kept in Papiers inédits trouvés chez Robespierre, Saint-Just, Payan, etc. (1828)

Fragment autographe des Institutions républicaines

Une lettre autographe signée de Saint-Just, L. B. Guyton et Gillet (not his writing but still interesting)

Two files at the BNF with his writing (and other strange random stuff):

Notes et fragments autographes - NAF 24136

Fragments de manuscrits autographes, avec pièces annexes provenant de Bertrand Barère, de V. Expert et d'H. Carnot - NAF 24158

Albert Soboul's transcription of the Institutions républicaines + explanation of what's in these files at the BNF

Anne Quenneday's philological note on the manuscript by Saint Just, wrongly entitled De la Nature (NAF 12947)

Masterpost (inventory, anecdotes, etc.) - by obscurehistoricalinterests

Chronology

Chronology from Bernard Vinot's biography

Testimonies

Élisabeth Duplay-Le Bas on Saint-Just, as reported by David d'Angers - by frevandrest and robespapier

Élisabeth Duplay-Le Bas corrects Alphonse de Lamartine’s Histoire des girondins (1847) - by anotherhumaninthisworld

Many testimonies by contemporaries (in French) on antoine-saint-just.fr

Representations

Everything Wrong with Saint-Just's Introductory Scene in La Révolution française (1989) - by frevandrest

On Saint-Just's strange representation of "throwing tantrums" - by saintjustitude and frevandrest

Saint-Just as "goth/emo boy"? - by needsmoreresearch, frevandrest and sieclesetcieux

Recommended Articles

Bernard Vinot:

"La révolution au village, avec Saint-Just, d'après le registre des délibérations communales de Blérancourt", Annales historiques de la Révolution française, No. 335, Janvier-Mars 2004, p. 97-110

Alexis Philonenko:

"Réflexions sur Saint-Just et l'existence légendaire", Revue de Métaphysique et de Morale, 77e Année, No. 3, Juillet-Septembre 1972, p. 339-355

Miguel Abensour:

"Saint-Just, Les paradoxes de l'héroïsme révolutionnaire", Esprit, No. 147 (2), Février 1989, p. 60-81

"Saint-Just and the Problem of Heroism in the French Revolution", Social Research, Vol. 56, No. 1, "The French Revolution and the Birth of Modernity", Spring 1989, p. 187-211

"La philosophie politique de Saint-Just: Problématique et cadres sociaux". Annales historiques de la Révolution française, 38e Année, No. 183, Janvier-Mars 1966, p. 1-32. (première partie)

"La philosophie politique de Saint-Just: Problématique et cadres sociaux", Annales historiques de la Révolution française, 38e Année, No. 185, Juillet-Septembre 1966, p. 341-358 (suite et fin)

Louise Ampilova-Tuil, Catherine Gosselin et Anne Quennedey:

"La bibliothèque de Saint-Just: catalogue et essai d'interprétation critique", Annales historiques de la Révolution française, No. 379, Janvier-mars 2015, p. 203-222

Jean-Pierre Gross:

"Saint-Just en mission. La naissance d'un mythe", Annales historiques de la Révolution française, Année 1968, no. 191 p. 27-59

Marie-Christine Bacquès:

"Le double mythe de Saint-Just à travers ses mises en scène", Siècles, no. 23, 2006, p. 9-30

Marisa Linton:

"The man of virtue: the role of antiquity in the political trajectory of L. A. Saint-Just", French History, Volume 24, Issue 3, September 2010, p. 393–419

Misc

Saint-Just in Five Sentences - by sieclesetcieux

On Saint-Just's Personality: An Introduction - by sieclesetcieux

Pictures of Saint-Just's former school, with the original gate - by obscurehistoricalinterests

Saint-Just vs Desmoulins (the letter to d'Aubigny and other details) - by frevandrest

Saint-Just's sisters - by frevandrest

On Thérèse Gellé and Henriette Le Bas - by frevandrest

Saint-Just and Gellé being godparents - by frevandrest and robespapier

On Saint-Just "stealing" and running away to Paris and the correction house - by frevandrest and sieclesetcieux

How was/is Saint-Just pronounced - Additional commentary in French by Anne Quenneday

[detournementsmineurs]

"Anciens Magasins de Prêt-à-Porter Gillet-Lafond" de l'architecte Pierre le Bourgeois (1928) et ancienne “Bijouterie Tournier” de l'architecte René Courtaut (1928) dans le cadre du parcours “Art Déco” à Charleville-Mézières, septembre-octobre 2023.

[musispoedmacarsiv]

19 Aralık 2023 Filou Oostende Pınar Karşıyaka Maçı

*COREtec Dome'da saat 22:00'de başlayacak olan Basketbol Şampiyonlar Ligi Normal Sezon E Grubu altıncı ve son maçı. Son maçlar öncesinde grupta çok yakın bir tablo var. Biz öncelikle Belçika'dan zaferi koparalım. Sıralama için sonrasına bakarız. Yürekten başarı dileklerimizi sunuyoruz ekibimize.

*Tivibu Spor 3'ten naklen yayınlanacak olan maç.

*İlk çeyrek bitimiyle 14-12 önde bulunuyoruz. Sıkı bir başlangıç oldu. Temkinli ve az sayıyla son anlara doğru biraz olsun öne çıktık. Uzaklaşmayı da diğer dilimlerde yapalım.

*Soyunma odasına 33-28 ile üstün gidiyoruz. Temsilcimizden iyi bir oyun geldi bu sefer ve tam hakimiyetle geçirdik. Çift haneleri de görür gibi olduk ama diğer yarıya inşallah.

*Üçüncü periyot sonucunda 58-56 yaptık durumu. Belçika ekibi üretken performansı ile maçı ortaya getirdi. Halbuki 49-37 ile 12 sayılık fark yapmıştık. Ondan sonra ev sahibinin 14-3'lük sekansı geldi. İşler dağıldı ama geri düşmedik en azından. Açtığımız mesafeyi yeniden oluşturmamız lazım.

*İnanılmaz! Gillet'nin 3 saniye kala gönderdiği üçlükle 78-76 kaybettik. Neyse ki İzmir'de 17 sayı farkla yenmiştik de sıramızı kaptırmadık. Diğer maçta Strasbourg yeninde daha fazla karışmadı ortalık. 3 galibiyet - 3 mağlubiyet sonucunda averajla ikinci sırayı elde ettik. Play-in'e saha avantajıyla çıkacağız. Toparlanmamız lazım orası için. Nazarlık diyelim bugüne. Filou Oostende'de Damien Jefferson ve Khalil Ahmad 19'ar, Pierre-Antoine Gillet 16 sayı gönderdi. Pınar Karşıyaka'da ise Vernon Carey Jr.'ın 22 sayı - 10 ribaundluk ikili çiftesi kurtaramadı. Vitto Brown 17 sayı sağladı.

[amicidomenicani]

Quesito Caro Padre Angelo, Le volevo chiedere come mai il Catechismo per i non credenti del Padre Sertillanges viene chiamato in tal modo? Ne ho letto un piccolissimo stralcio che ha riportato lei nella sua rubrica, e mi è piaciuto molto. Trattava del giudizio particolare. Molto bello il modo "realistico e convincente" con cui ne parla.  Di cosa parla nel resto del libro? È tutto così fatto in modo realistico? Se sì, lo prendo di sicuro! Grazie, la ringrazio. Risposta del sacerdote Carissimo, 1. prima di dare una visione d'insieme del Catechismo per i non credenti, penso che sia opportuno un breve profilo biografico dell’autore. Antonin-Gilbert Sertillanges nacque a Clermont Ferrand, Francia, nel 1863. Ricevuta la prima educazione dai Fratelli delle scuole cristiane incontrò per la prima volta l'ordine di San Domenico nella persona del padre Ollivier, che stava predicando in quella città. Entrò nell'ordine domenicano l'8 settembre 1883 in Spagna, a motivo delle ripetute soppressioni degli ordini religiosi da parte dei vari regimi politici francesi. Gli fu dato il nome di Fra Antonin Dalmace.  Inviato poi in Corsica nel convento di Corbara per frequentare gli studi filosofici e teologici propri dell’Ordine, ebbe come insegnanti due giovani grandi domenicani: i padri Ambroise Gardeil e Pierre-Felix Mandonnet. Sertilllanges in questo periodo della sua formazione rimase affascinato dalla dottrina di San Tommaso e dal suo potere di persuasione. Iniziò subito dopo l'ordinazione sacerdotale avvenuta nel 1888 la sua attività di insegnamento in varie istituzioni dell'Ordine e della Chiesa. Nello stesso tempo si affermò anche per le sue doti di predicatore. 2. In una sua famosa predica, fatta alla presenza del cardinale Amette, arcivescovo di Parigi e ad una folla di ascoltatori, mosse alcune critiche alla Nota per i popoli belligeranti del 1 agosto 1917 di Benedetto XV, che ai francesi sembrava filo austriaca. Il cardinale e tutta la folla erano consenzienti con il pronunciamento del padre Sertillanges.  Ma a Roma quell'intervento fu sgradito. Il cardinale ebbe da soffrire e al padre Sertillanges fu tolta la predicazione. 3. “Il cardinale Gasparri, segretario di Stato, chiese per padre Sertillanges le pene più severe. Alla fine le autorità romane accettarono di aspettare la conclusione della guerra. Terminata questa, Gasparri dichiarò al rettore dell’Institut Catholique: “Si deve scegliere la prima occasione favorevole per allontanare il padre Sertillanges dall'Institut Catholique, anche se dovessimo attendere ancora uno o due anni per non irritare l'opinione pubblica”. I cardinali Bisleti, Billot, Mary del Val furono dello stesso parere. Invidiato per i suoi successi come insegnante, denigrato nella sua vita privata (a motivo delle ripetute soppressione viveva in un appartamento ritenuto da alcuni troppo di lusso, n.d.r.), condannato da Roma per il suo patriottismo troppo entusiasta, nel 1922 fu sollevato dalla sua cattedra dopo la morte del cardinale Amette (1920) e quella di Benedetto XV (1922).  Esiliato innanzitutto a Gerusalemme... ritornò in Europa in un convento domenicano olandese e successivamente in Belgio. Nel 1939, l'intervento del Maestro dell’ordine, M.-S. Gillet, presso Pio XII mise fine all'esilio del padre Sertillanges. Questi aveva accettato la sua prova con pazienza e senza mormorazione, ma non senza grandi sofferenze morali. Ritornò a Parigi anziano e fisicamente provato per dedicarsi con tutte le sue forze a un apostolato intellettuale fondato sulla predicazione e a un apologetica atomista in dialogo con la cultura moderna” (A. Laffay, Presentazione del Catechismo dei non credenti, pp. 8-9). Il 26 luglio 1948 morì all'età di 85 anni. 4. Nel Catechismo il padre Sertillanges riprende i temi affrontati in varie opere da lui scritte. Ma “rispetto a queste opere il Catechismo offre il vantaggio di usare la forma semplice e pedagogica del

confronto fatto con domande e risposte. Un anonimo, un uomo di buona volontà, il non credente del titolo dell’opera, pone le domande e il padre Sertillanges risponde senza eludere le difficoltà. Tutto ciò potrebbe sembrare artificiale: tuttavia il dialogo è ben riuscito. Due aspetti concorrono a ciò: in primo luogo le domande poste sono delle vere domande, a cominciare dalla prima: si è obbligati a informarsi circa l'esistenza di Dio? Poi, Sertillanges non schiva le difficoltà e mette sulla bocca del suo interlocutore non solo delle questioni ma anche delle obiezioni ai suoi concetti. Invitato a recitare il Padre nostro prima di tutta la discussione, il non credente obietta che non può ancora pregare così” (Ib., p.12). 5. “Allora - dice il padre. - dì quest'altra preghiera: il Padre nostro del non credente. Padre nostro, se esisti, non oso rivolgermi a te. Se esisti, il tuo nome è Santo; sia santificato. Se esisti, il tuo regno è l'ordine, e anche il tuo splendore: venga il tuo regno. Se esisti, la tua volontà è la legge dei mondi e quella delle anime: sia fatta la tua volontà in tutti noi e in ogni cosa, sulla terra come in cielo. Dacci, se esisti il nostro pane quotidiano, il pane della verità, il pane della sapienza, il pane della gioia, il pane sopra sostanziale che viene promesso a chi può riconoscerlo. Se esisti, ho commesso dei grandi peccati nei tuoi confronti: degnati di perdonarmi i miei peccati, come io stesso perdono di cuore a coloro che sono in debito con me. Per il futuro, non abbandonarmi alla tentazione, ma liberami da ogni male” (Catechismo per i non credenti, p. 19). 6. “Per realizzare una vera sintesi dogmatica, l'autore ha seguito molto da vicino l'ordine che San Tommaso offre nella prima parte e nella terza parte della Somma teologica. La parte centrale dell'opera dell'Aquinate, cioè la questione dell'agire cristiano, la morale, è la più trascurata. Il proposito di Sertillanges è chiaro: il cristianesimo non è una morale, un modo di vivere, è un coinvolgimento di tutto l'essere che esige il consenso dell'intelligenza e della volontà. L'uomo conformerà il proprio agire alla morale evangelica solo se avrà precedentemente aderito alla fede cristiana.  In quest'opera si tratta proprio di questa condizione preliminare” (Ib., p. 13). 7. Il presentatore di quest'ultima edizione del Catechismo per i non credenti, A. Laffay, rileva alcune lacune: “La persona di Gesù Cristo sembra poco presente; la Sacra Scrittura è poco citata; abbonda di riferimenti ad autori moderni. Questo non mette direttamente l'interlocutore davanti alla croce, al mistero di Cristo, né invoca direttamente l'uso della Scrittura. Anzi esso suppone di mettersi sullo stesso piano dell'interlocutore con la certezza - fondata sulla ragione - che né l'uomo né il mondo potrebbe esistere se Dio non ci fosse” (Ib., p.13). Ma non va dimenticato che si tratta di un'opera apologetica, persuasiva e convincente per i non credenti e non soltanto per coloro che già aderiscono a Cristo. 8. In ultima di copertina, presso le edizioni studio domenicano di Bologna, si legge: “Questa singolare catechismo è un dialogo serrato e appassionante tra un credente e un non credente circa i fondamenti razionali e storici della fede cristiana.. Ecco i temi principali: esistenza di Dio; la provvidenza; il mistero della trinità e della creazione; del peccato originale e dell'incarnazione, della salvezza e della grazia; la chiesa; i sacramenti; la morte e l'immortalità; il giudizio; l'inferno, il paradiso e il purgatorio.  Anche i problemi più ardui e spinosi sono affrontati con grande chiarezza e in modo schietto”. Ti ringrazio di avermi offerto l’occasione di presentare questa grande figura e anche uno dei suoi più fortunati scritti. Ti benedico e ti ricordo nella preghiera.  Padre Angelo

[etiennedaho]

Le clip de « Boyfriend » est disponible !

Réalisé par Studio L’Etiquette et produit par Newlightfilms

Productrice exécutive : Virna Martini

Productrice senior : Cléo Ferenczi

Directeur de production : Amine Ketem

Post producer: Bianca Benloukil

Coordinatrice de production : Marie Marsan

Assistante de production : Juliette Unsworth

Special Thanks : Newlighfilms, Johanne Olesen et Marie Alegre

DOP : Caroline Champetier

1er assistant réalisateur : Zadig Hein

2e assistante réalisateur : Romane Humbert

1er assistant OPV : Hugo Martin

2e assistant OPV : Thibault Walckiers

3e assistant OPV: Téo Fery

Chef électricien : Laurent Bourgeat

Best boy : Camille Houguenague

Électricien : Adèle Arlot Belliot et Guillaume Mandin

Chef machiniste : Walter Xavier

Machiniste : Thierry Ramanana et David Bigard

Hair & Make up Etienne Daho : Gil Lesage

Stylist : Aurélien Storny & Alexandre Misericordia

Stylist assistant : Alena Ballet

Set Design : Antoine Lamperière

1st assistant : Gustave Birchier

Ripper: Allegra Mangifesta et Jules Reyes

SFX : David Laurent

Choreographer : Clément Gyselink

Régisseur général : Jean-Pascal Mabille

Régisseur : Bastien Labat, Eric Schmidt et Pierre Boussiquet

Makeup : Elodie Barrat

Assistant : Marine Oketokoun et Emilie Krutul

Hair : Delphine Bonnet

Avec la participation de : Andy Gillet, Brice Michelini, Nassim Guizani, Gaspard Bellisant, Lily Rose Ciannamea, Marguerite Monat, Lili Felder, Theo Treil, Chiara Corbetta, Axel Prepont, Marie Clo Ramos Ibanez, Val Wairimu, Ambre Cuissu, Natascha Wiese, Kolya Mykola Shipov, Natacha Le Jeune, Marine Sigsimeau, Julia Coma, Paul Mulocher, Bianca O’Brien, Bastien Hegedus, Mohamed Bougenghour, Justine Ponthieux

Post-production: Firm

Post producer Firm: Coralie Duarte & Clémence Gasnier

Editor: Léo Gatelier

Assistante monteur: Camille Miranda

Etalonneur: Nicolas Gautier

Assistant TC: Etienne Glaudeix

Graphiste 3D: Benoît Revilliod

Flamiste: Jonathan Lagache, Christophe Croidieu, Tristan Barbaron et Philippe Szabo

Graphiste 2D : Olivier Stéphant, Simon Bouicanges et Antoine Richy

Remerciements :

Sophie Bramly et l’équipe Barclay (Jérome Marroc-Latour, Laurence Ferracci, Paul François Thierry , Marina Hanna)

Unloved #jadevincent

Studio L'Étiquette #newlightfilms Barclay

[revuetraversees]

Le labyrinthe du seul, de Paul Mathieu, illustrations de Pierre-Alain Gillet, 80 p., éditions Traversées, collection Poésie, Virton (Belgique), 2021 ISBN : 9782931077023

Le labyrinthe du seul, de Paul Mathieu, illustrations de Pierre-Alain Gillet, 80 p., éditions Traversées, collection Poésie, Virton (Belgique), 2021 ISBN : 9782931077023

Une chronique de Claude Luezior Le labyrinthe du seul, de Paul Mathieu, illustrations de Pierre-Alain Gillet, 80 p., éditions Traversées, collection Poésie, Virton (Belgique), 2021 ISBN : 9782931077023 Le livre étant encore fort heureusement, pour la plupart d’entre-nous, un objet de vie, ce mot tout d’abord à propos de l’élégant ouvrage publié par les éditions Traversées : de dimensions plutôt…

[gems-and-geology-of-the-globe]

Plumbogummite on Pyromorphite Crystal Formation - Bolivia

Plumbogummite is an extremely rare lead phosphate mineral that forms in trigonal crystal structures. Its blue-green color is gained from inclusions of Aluminum. This mineral was first discovered in 1819 by François Pierre Nicolas Gillet de Laumont, & named after the Latin words "plumbum" meaning lead & "gummi" meaning gum. This peculiar naming is due to its similarity to a coating of sticky gum on top of a crystal.

Plumbogummite is a pseudomorph mineral, meaning that it grows & replaces the spot of another mineral. This crystal commonly grows alongside Pyromorphite but has also been found in association with Mimetite, Wulfenite, Cerussite, Angelesite, & Dufitite. It is found in a few localities throughout the world, most notably France, China, Australia, Germany, Austria, & the United Kingdom. Although this crystal is often found in a blue-green color, is has also appeared in a pale yellow color in Bolivia.

[boiledangels]

Barbe Bleue, 2014 Pierre et Gilles

[guguseti]

Pierre-Antoine Gillet, un tirador belga en Fuenlabrada

Pierre-Antoine Gillet, un tirador belga en Fuenlabrada

Últimamente estamos viendo los estratosféricos fichajes de los equipos de Euroliga, con vueltas espectaculares desde la NBA de jugadores como Nicola o Caspi pero lo cierto es que no solo se refuerzan los grandes ya que todos los equipos completan sus plantillas y por ejemplo el Montakitt Fuenlabrada ha fichado al ala-pívot belga Pierre-Antoine Gillet.

fuente dh.be Pierre-Antoine Gillet con la…

[scribbleanalysis]

François Bernouard sits next to the radio producer and composer Ernst Schoen. Here is something Bernouard did on the radio: a dialogue between him and Jean Le Louët on the group LES AMIS de 1914 and Théâtre Impossible, broadcast on Wednesday 1st of August 1934 for P.T.T.

On the transcript LES AMIS de 1914 are listed as a vast new diagram as:  Paul Fort. André Salmon. André Lebey. André Varnod. Mr. Richard. Jacques Dyssord. Sometimes Bernouard. Deville. C. Fegdal. G. Duhamel. Valensi. Ernest Gaubert. Antoine Orliac, X. de Magallon. P. Corpus, JL Vaudoyer. Luc Durtain. Pierre de Guingand. AF Hérold. Th. Briant, Ch. Du Bos. F. Carco. Dr. Mardrus J. Royère. P. Bertin. A. Germain. Dr. EF Julia. René Lalou. Louis Suë. A. Lhote. D. Halévy. Mrs. and Dr. Béliard. Gabriel Boissy. J. Villon. A. Bonnard. Ed. Jaloux. André David. René Fauchois. H. Strentz. Jehan Bouvelet. René Bertrand. Asselin. Max Jacob. Jean Giraudoux. Dr. Vinchon. Emile. Fabre. Master Dernis. Arnould Galopin. Léandre Vaillat. Ch. Chassé. Mr. Rouff. Jean de Pierrefeu. Dorgelès. Pol-Neveux. Paul Leon. Mr. Bedel. Tristan Bernard. R. Groos. Van Melle. F. Lot. Maurice Ravel. E. Marsan. P. Brulat. J. Daragnès. Etienne Rey. Faure-Biguet. E. Champion. Mr. Chadourne. Florian-Parnnentier. Carlo Rim. F. Fosca. F. Crommelynck. Fernand Divoire. Krettly. Michel de Gramont. Louis Mandin. Paul Chack. Mario Meunier. Dear. Megglé. J. and J. Tharaud. Alphonse Séché. Valmy-Baysse. Louis Gillet. R. Chambe. Léon Vérane. Carlègle. Gerarl Bauër. Lemercier. Robert Bonfils. L. de Gonzague-Frick. Pierre; The guard. Fagus. Guy Lavaud. Othon Friesz. E. Montfort. R. Gillouin. Tzanck. André Arnyvelde. Gonon. Ed. Dujardin. Valéry Larbaud. A. Rivaud. Jean Prévost. R. Kerdyk. Fernand Fleuret. G. Fréjaville. H. Falck. J. Mortane. Lugné-Poë. R. Le Masle. Mr. Chevrier. Lantern. G. Kahn. G. de Lautrec. LP Fargue. Legrand-Chabrier. JE Blanche. F. Gregh. Paul Poiret. Martial Piéchaud. Gino Severini. J. Cocteau. A. Fontainas. Lucien Fabre. G. Le Rouge. Henri Duvernois. André Maurois. GL Garnier. Ramey. André Billy. Roger Dévigne. Guy Mazeline. J. Barois. Henri Massis. Léon Bailby. E. Bourcier. Georges Denis. Denis d'Inès. Jean Hervé. CR Martin. Ph. Besnard. of Chauveron. Latapia. Rosny elder. Curnonski. P. Descaves. Levesque. J. Joyce. Marcel Jouhandeau. Albert Bayet. V Brechignac. Jean Marchand. F. Casadesus. R. Fellowes. Rachilde. Mr. Laurencin. Colette. J. Sully. M. Harkavy, Y. Gall. Hermine David. Suzanne Valadon. Eve Francis. Colonna-Romano. A. and S. Bernouard. L. Noblet. Yvette Guilbert. Suzanne Desprès. Alice Dufrène. Marcelle Brou. Aldona. Chériane .: G. Rabette. Berthe Bovy. Jane Bathori. Jeanne Landre. Annie Ducaux. Gisèle Casadesus. Vera Korene. Titayna. Dussane. R. Berendt. Garcia. Jean Hervé. CR Martin. Ph. Besnard. of Chauveron. Latapia. Rosny elder. Curnonski. P. Descaves. Levesque. J. Joyce. Marcel Jouhandeau. Albert Bayet. V Brechignac. Jean Marchand. F. Casadesus. R. Fellowes. Rachilde. Mr. Laurencin. Colette. J. Sully. M. Harkavy, Y. Gall. Hermine David. Suzanne Valadon. Eve Francis. Colonna-Romano. A. and S. Bernouard. L. Noblet. Yvette Guilbert. Suzanne Desprès. Alice Dufrène. Marcelle Brou. Aldona. Chériane .: G. Rabette. Berthe Bovy. Jane Bathori. Jeanne Landre. Annie Ducaux. Gisèle Casadesus. Vera Korene. Titayna. Dussane. R. Berendt. Garcia. Jean Hervé. CR Martin. Ph. Besnard. of Chauveron. Latapia. Rosny elder. Curnonski. P. Descaves. Levesque. J. Joyce. Marcel Jouhandeau. Albert Bayet. V Brechignac. Jean Marchand. F. Casadesus. R. Fellowes. Rachilde. Mr. Laurencin. Colette. J. Sully. M. Harkavy, Y. Gall. Hermine David. Suzanne Valadon. Eve Francis. Colonna-Romano. A. and S. Bernouard. L. Noblet. Yvette Guilbert. Suzanne Desprès. Alice Dufrène. Marcelle Brou. Aldona. Chériane .: G. Rabette. Berthe Bovy. Jane Bathori. Jeanne Landre. Annie Ducaux. Gisèle Casadesus. Vera Korene. Titayna. Dussane. R. Berendt. Garcia. Hermine David. Suzanne Valadon. Eve Francis. Colonna-Romano. A. and S. Bernouard. L. Noblet. Yvette Guilbert. Suzanne Desprès. Alice Dufrène. Marcelle Brou. Aldona. Chériane .: G. Rabette. Berthe Bovy. Jane Bathori. Jeanne Landre. Annie Ducaux. Gisèle Casadesus. Vera Korene. Titayna. Dussane. R. Berendt. Garcia. Hermine David. Suzanne Valadon. Eve Francis. Colonna-Romano. A. and S. Bernouard. L. Noblet. Yvette Guilbert. Suzanne Desprès. Alice Dufrène. Marcelle Brou. Aldona. Chériane .: G. Rabette. Berthe Bovy. Jane Bathori. Jeanne Landre. Annie Ducaux. Gisèle Casadesus. Vera Korene. Titayna. Dussane. R. Berendt. Garcia. The address is given: 224 Boulevard Raspail

In the dialogue François Bernouard says that the LES AMIS de 1914 were born of out of necessity, for writers but also architects, painters, sculptors, musicians to defend lyricism in the aftermath of war: “The war and its multiple consequences had separated us. Each one like you, worked isolated, we knew each other only by our writings and certain old comrades had not seen each other for twenty years. Here are some reasons for the continued success of our evenings”

The first meeting took place on 17 February 1933. “The invitation was issued on behalf of Paul Fort, Prince des Poëtes, André Salmon, Jacques Dyssord, André Warnod, André Lebey, and me. It was a wonderful evening, despite the freezing cold; more than 600 artists and art lovers came, the elite of Paris”. On night Paul Fort declared: “Retrouvons-nous chaque vendredi et soyons les inséparables de 1914, nos cadets seront reçus comme nos enfants”

For those who survived the war, LES AMIS de 1914 was to be a place to meet to discuss art with the peaceful spirit (l'esprit pacifique) of the days which preceded the catastrophe of 1914

But they were too sensitive to those no longer present: “Our friendship should remember the dead, either before, during or after the war, and try to redress a little the injustice of fate towards those who will remain in the eternal time of the young. I cannot cite them all. These were the memories of Guillaume Apollinaire, Henri Bouvelet, Emile Despax, the Englishman Rupert Brooke, Fagus, Jehan Rictus, Charles Derennes, Joachim Gasquet, Paul Drouot, Alfred Jarry, Jean Jareas, Jean Moreas, Paul Napoleon Roinard, René Dalize, Raymond Radiguet, Jean Le Roy, Stuart Merrill, Charles de Fontenay, Jean de la Ville de Mirmont, Sanche de Gramont, Robert d'Humières, Amédée Prouvost, John-Antoine Nau, Odilon-Jean Périer, Auguste Angellier, Adrien Bertrand, André Dupont, Albert Samain, Gabriel-Tristan Franconi, Ricciotto Canudo who, born Italian, chooses the French language to express himself, all writers of first quality. The present is often unfair to them, but posterity will do them justice”

Questions of generation also come up; alongside the slippage of the category of ‘friendship’ into something militaristic (just as from German “comrade” can slip from Genossen to Kamerad and Freund/in can denote both a platonic and a non-platonic relationship)

[s0irenic]

Pierre-Arnaud Gillet  -  (Homage to Gustav Klimt)

[huguesgillet-blog]

L’Imaginaire  Exposition collective Franco-Japonaise.

L’OSMOSE ,avec l’aimable  parrainage d’Amélie Nothomb 

Peintures, sculptures, photos,dessins, gravures.

Bruno Baratier,Yo Coquelin, Michel Dubré , Hugues Gillet, Marc Halingre, Miyako Ito, Jean -Pierre Monnot, Etsuko Miura, Rik-Art, Roku Sasaki ,Yves Thomas, Claude Verlinde, Hiroya Yasukoshi .

 Du lundi 6 mai au lundi 13 mai 2019 .

Vernissage le lundi 6 mai à 19h00 . Salle des Arts

Maison des associations Saint Germanoises, Hotêl de la Vrillière.

3 rue de la République.78100 Saint- Germain en Laye.

Ouvert au public du lundi au dimanche de 10h00 à 19h00

Artis Fictae Turma  

http://artisfictaeturma.com/

   https://www.instagram.com/hugues.gillet/

[memoire2cite]

mémoire2cité - La parenthèse enchantée des maisons-bulles La liberté de penser de la période 1960-1970 a permis la gloire –temporaire– des maisons-bulles à travers le monde, en quantité comme en originalité, de la bulle solitaire au palais labyrinthique par Raphaëlle Saint-Pierre -Les années 1960 ouvrent en France une période de rejet du Mouvement moderne et des logements collectifs rectilignes qui se sont multipliés après la Seconde Guerre mondiale. De nouvelles figures participent à un élan de libération de la forme https://www.espazium.ch/la-parenthse-enchante-desmaisonsbulles    , et parmi eux les architectes Pascal Häusermann, Claude Costy, Antti Lovag ou encore Jean-Louis Chanéac. Liés d’amitié, ils entretiennent des relations intellectuelles sans conflits d’autorité ou de paternité. A la recherche de techniques souples, ils mènent simultanément des essais de construction en voile de béton et en plastique. La bulle est pour eux un choix économique, esthétique ou pratique.

Primitive et futuriste Coquille de mollusque ou ventre maternel, la bulle évoque les habitats traditionnels ronds : igloo, case, borie provençale, trullo italien. Mais elle correspond aussi aux aspirations d’une société passionnée par la science-fiction et dont la Futuro House (fig. 2) de Matti Suuronen marquera l’apogée en 1968. Aux yeux des créateurs de bâtiments biomorphiques, Antoni Gaudí joue un rôle de précurseur pour avoir transposé en architecture des modèles de structures bio-inspirées. Les édifices des expressionnistes des années 1920 font aussi partie de leurs références, tels la tour Einstein d’Erich Mendelsohn à Potsdam ou le Goetheanum de Rudolf Steiner et son quartier, à Dornach en Suisse.

C’est l’adaptation de la technique du gunitage (lire article p. 20) à l’échelle domestique qui permet l’apparition des premières maisons-bulles. En 1941, l’architecte américain Wallace Neff invente le procédé de construction Airform, économique et ultra-rapide, pour ses Bubble Houses achevées en quarante-huit heures. Un ouvrier projette du béton sur un ballon maintenu à sa base par une dalle et entouré dans sa partie basse par un grillage. Après 24 heures, le ballon est dégonflé. Le voile est couvert d’une isolation puis un nouveau grillage est appliqué sur cette surface et une seconde couche de béton est projetée. Près de 2500 bâtiments ainsi conçus voient le jour dans le monde entier. En 1953, Eliot Noyes construit deux maisons en Floride avec ce procédé (fig. 3). Des projets non réalisés marquent également les esprits. En 1955, l’architecte américain John Maclane Johansen publie les dessins de sa Spray House et un livre sur la technique de construction par gunitage sur coffrage perdu. L’image de la maquette d’une Maison sur la Plage (1956) de Sanford Hohauser (fig. 4), tel un vaisseau extraterrestre posé sur les rochers, est diffusée dans les médias. En 1959, la maquette de l’Endless House de Frederick Kiesler (fig. 1) devient une référence incontournable. Cette maison organique, conçue pour être construite en béton selon un principe de « tension continue », abolit la distinction entre murs, sols et plafonds.

Dans les années 1960, les maisons en voile de béton se multiplient. Au cours de ses recherches sur l’adaptation des modèles de la nature à l’architecture, Vittorio Giorgini imagine la casa Saldarini (1962), à Baratti sur la côte Toscane (fig. 5), dont l’allure fantastique se situe entre la baleine et le dinosaure. En Belgique, la sculpturale maison de Jacques Gillet, dans une forêt en périphérie de Liège (1968), évoque une grotte. Aux Etats-Unis, les maisons-bulles sont souvent liées à la contre-culture, telle la House of the Century à travers laquelle le groupe Ant Farm transpose en dur ses recherches sur les structures gonflables (Texas, 1973). De son côté, l’architecte italien Dante Bini développe une technique économique et rapide pour construire des dômes à partir d’une membrane recouverte d’une fine couche de béton, puis gonflée. Sur plusieurs décennies, environ 1500 Binishells apparaîtront ainsi, comme la maison de Michelangelo Antonioni sur la Costa Nera en Sardaigne.

La recherche de l’économie En 1959, l’architecte suisse Pascal Häusermann (1936-2011) est le premier en France à construire de ses propres mains une bulle, à Grilly, dans l’Ain. Dans sa demande de permis, il écrit : « La forme et la facture de cette maison découlent des possibilités qu’a le béton de s’adapter à une forme statique. Lorsque cette forme est atteinte, le voile ainsi formé supporte d’être extrêmement mince. Le poids du béton mis en œuvre étant minime, le coffrage peut être réduit à sa plus simple expression, c’est-à-dire incorporé au voile. Le béton, dans cette construction, ne supportant que de faibles contraintes, n’a pas besoin d’une grande homogénéité. Il suffit donc de gicler un mortier sur une trame réceptrice attachée à l’armature principale. » Le désir de trouver l’enveloppe la plus économique possible conduit Häusermann à étudier l’ellipsoïde de révolution. Un seul matériau suffit, son emprise au sol est restreinte et ses fondations sont légères. En revanche, le second œuvre revient plus cher que dans une maison orthogonale, car chaque détail doit être adapté aux courbes. L’année suivante, à Pougny, il parfait son procédé avec des maisons jumelles dotées d’un bandeau vitré à l’équateur (fig. 6). Il s’associe ensuite à son épouse, l’architecte française Claude Costy (née en 1931), avec laquelle il décline l’utilisation du voile de béton dans divers programmes et régions : habitations, motel, clubs de loisirs, etc. En 1968, pour leur propre famille, ils greffent sur les ruines du presbytère de Minzier (Haute-Savoie) une libre composition de bulles et de volumes sculpturaux (fig. 7). A l’intérieur de cette caverne onirique, tout l’aménagement est intégré dans les circonvolutions du béton. Parallèlement, pour aller plus loin que le voile de béton ne le permet dans l’économie et la légèreté, Pascal Häusermann travaille sur des bulles en matière plastique, dont les Domobiles sont les plus abouties (fig. 8). Mais aucune industrialisation ne verra le jour. Après leur séparation en 1972, le couple se répartit les chantiers du centre-ville de Douvaine (Haute-Savoie), dont l’école maternelle de Claude Costy offre un rare exemple de bâtiment public en bulles (fig. 10). Parallèlement, elle dessine la maison de Joël Unal qu’il autoconstruit en Ardèche (fig. 9). Elle en suivra le chantier sur plusieurs décennies, établissant les plans de ferraillage au fur et à mesure. A la fin des années 1970, le gros œuvre est terminé mais Joël Unal s’y consacrera encore jusqu’en 2008, appliquant lui-même le béton à la main et peaufinant son aménagement et son décor. Les différentes bulles reposent directement sur les rochers et s’intègrent au paysage dans un véritable équilibre avec la nature.

De la plante au corps féminin Dès 1958, Jean-Louis Chanéac (1931-1993) étudie des cellules individuelles, évolutives et mobiles aux formes organiques. Mais il ne trouvera aucun industriel prêt à s’impliquer dans leur préfabrication. En 1968, dans son Manifeste de l’architecture insurrectionnelle, il préconise l’installation de bulles pirates greffées sur les façades des barres et tours pour agrandir les appartements ou posées un peu partout dans les villes. En décembre 1970, après avoir lu ce texte, Marcel Lachat accroche clandestinement une bulle pirate en polyester sur la façade de son immeuble du Grand-Saconnex dans le canton de Genève (lire article p. 16). Construite grâce aux conseils techniques de Pascal Häusermann, cette installation destinée à dénoncer la politique de logement fera grand bruit. Pressentant la fin d’une époque permissive et n’ayant pas trouvé « le cobaye consentant à vivre une expérience d’architecture limite », Jean-Louis Chanéac construit sa maison familiale à Aix-les-Bains en voile de béton entre 1973 et 1977 (fig. 11). Pour ne pas faire de choix formel réfléchi, il décide de travailler à partir de la première vision qui s’impose à son esprit. Ce sera une cosse de haricot, image protectrice ressurgie de son enfance, qui épouse la forme du terrain pentu. Vue du ciel, la maison ressemble à un oiseau. Mi-végétale, mi-animale, cette « architecture correspondant à [ses] fantasmes » évoque également un sexe de femme.

L’habitologie D’origine finlandaise, Antti Lovag (1920-2014) s’installe dans les Alpes-Maritimes en 1963 et travaille pour l’architecte Jacques Couëlle jusqu’en 1969, notamment sur les maisons-paysages de Castellaras-le-Neuf. « Couëlle m’a donné la liberté. C’est à lui que je dois la certitude que tout est possible », disait Antti Lovag. Grâce à des clients-mécènes, il pourra construire trois palais-bulles. A Tourrettes-sur-Loup, il commence par élever en 1968 un prototype de maison-bulle qu’il habitera ensuite. Maintes fois bloqué par l’administration, le chantier de la maison s’étend par épisodes successifs sur plusieurs décennies. Pour Antti Lovag, « le point de départ c’est le cercle, mais pas le cercle au sens symbolique ou ésotérique. Le cercle en tant qu’évidence. Il structure le comportement de la nature humaine. Nous avons un champ de vision circulaire. La convivialité est un phénomène circulaire. » Fidèle reflet de l’intérieur, à partir duquel tout est conçu, l’extérieur n’offre pas le visage d’une architecture de représentation. Antti Lovag commence par déterminer l’enveloppe globale grâce à des gabarits réglables pour situer les volumes dans l’espace et faciliter la mise en place des fers. Il conçoit des demi-sphères outrepassées intimement liées au terrain, laissant affleurer des rochers à l’intérieur. Les pièces s’agglomèrent les unes aux autres, parfois reliées par des galeries ou quelques marches, afin d’obtenir un espace fluide sans porte. A partir de 1970, Antti Lovag se consacre à deux commandes successives sur des parcelles dominant la Méditerranée, à Théoule-sur-Mer. La première est une maison de vacances de 800 mètres carrés répartis dans une grappe de vingt-six bulles, ponctuées de terrasses, patios, bassins et jardins. La seconde, rachetée par le couturier Pierre Cardin, est un palais labyrinthique de 1200 mètres carrés dont les bulles suivent les courbes de niveau du terrain abrupt (fig. 12). Autour de trois piscines, elles forment une composition proliférante qui ne répond pas à un dessein formel préalable mais à des parcours fonctionnels. Car Antti Lovag ne se considère pas comme un architecte mais comme un « habitologue ». Il soigne le mobilier intégré d’une maison en totale harmonie avec ses habitants : placard-tambour, lit circulaire et rotatif, cheminée mobile, table amovible, cuisine escamotable à rangements pivotants, etc. Coquilles protectrices, ses bulles doivent s’accorder parfaitement aux gestes quotidiens.

Au cours des années 1970, aux contraintes administratives légères succède un nombre croissant d’oppositions culturelles et réglementaires. Les nouvelles lois d’urbanisme françaises musellent la créativité des architectes, confrontés à un durcissement de l’administration puis à un blocage quasi total des permis de construire. Le changement des mentalités bride l’esprit d’innovation et les responsables politiques, locaux comme nationaux, encouragent le règne des pavillons de constructeurs. L’engouement des médias retombe. Depuis les années 1980, les maisons-bulles restent essentiellement le domaine des autoconstructeurs. Ils se lancent grâce au livre de Joël Unal paru en 1981, Pratique du voile de béton en autoconstruction, dans lequel l’auteur fournit des indications techniques très précises, ou en côtoyant Antti Lovag qui, jusque dans les années 2000, continue de former des étudiants et des passionnés, architectes ou non, sur ses chantiers et lors de stages.

Référence Maisons-bulles : Architectures organiques des années 1960 et 1970 Raphaëlle Saint-Pierre, Editions du Patrimoine, Collection Carnets d’architectes, Paris, 2015

[theplaylistfilm]

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES

THE FEMALE GAZE, JULY 27 – AUGUST 9

A two-week survey of 36 films shot by 23 female cinematographers

Agnès Godard, Natasha Braier, Joan Churchill, and Ashley Connor in person

The Film Society of Lincoln Center announces The Female Gaze (July 26 – August 9), spotlighting the amazing work of such accomplished international female cinematographers as Agnès Godard, Natasha Braier, Kirsten Johnson, Joan Churchill, Maryse Alberti, Ellen Kuras, Babette Mangolte, and Rachel Morrison. Laura Mulvey’s landmark 1975 essay “Visual Pleasure and Narrative Cinema” suggested an imbalance of power in film dominated by the male gaze and heterosexual male pleasure; this series poses the question: is there such a thing as the “Female Gaze”?

This year, Morrison made history as the first woman nominated for the Best Cinematography Oscar for Mudbound, a triumph that also underscored the troubling issue of gender inequality in the film industry. Few jobs on a movie set have been as historically closed to women as that of cinematographer—the persistence of the term “cameraman” says it all. Despite this lack of representation, trailblazing women have left their mark on the field through extraordinary artistry and profound vision. As seen through their eyes, films by directors like Claire Denis, Jacques Rivette, Chantal Akerman, Ryan Coogler, and Lucrecia Martel are immeasurably richer, deeper, and more wondrous.

The Female Gaze opens with a double feature of unforgettable collaborations between Agnès Godard and Claire Denis—from the sensual gaze on male bodies in Beau travail to that of familial love in 35 Shots of Rum—launching the series’ central dialogue with Godard in person. Then on July 28, cinematographers Natasha Braier, Ashley Connor, Agnès Godard, and Joan Churchill join Film Society audiences to discuss their careers, experiences in the film industry, and their interpretations of the Female Gaze in a free talk, sponsored by HBO®.

Full line up.

Maryse Alberti Creed Ryan Coogler, USA, 2015, 133m The legend of Rocky lives on as Michael B. Jordan’s gutsy Adonis Johnson—son of Apollo Creed—sets out to prove he’s got what it takes to be the next champ, leaving his luxe L.A. life behind to train in the hard-knock gyms of Philadelphia with the Italian Stallion himself. After the breakout success of Fruitvale Station, director Ryan Coogler shows his facility for major budget spectacle, balancing a rousing underdog sports story with a poignant portrait of intergenerational friendship. The virtuoso lensing of Maryse Alberti astonishes in a dazzling four-and-a-half minute fight sequence that unfolds in one bruising, breathless take. Thursday, August 2, 1:30pm Sunday, August 5, 9:00pm

Velvet Goldmine Todd Haynes, UK/USA, 1998, 35mm, 124m The birth of Oscar Wilde; the staged death of a flamboyant rock star modeled closely after David Bowie; the delirious inebriation of London at the height of the glam era: Haynes’s discourse on celebrity culture is as sprawling and multi-tracked as his previous film, Safe, had been clinically restrained. Much of Velvet Goldmine, the story of a journalist who tries to reconstruct the sordid life story of the failed glam rock star he’d idolized as a young man, was shot in London, and the move gave Haynes a chance to abandon the cloister-like suburbs of his earlier films for a much more colorful, Dionysian milieu. Haynes and cinematographer Maryse Alberti crafted one of the most visually thrilling music movies of the 1990s. An NYFF36 Selection. Sunday, July 29, 8:30pm Tuesday, August 7, 4:15pm

Barbara Alvarez The Headless Woman / La mujer sin cabeza Lucrecia Martel, Argentina/France/Italy/Spain, 2008, 35mm, 87m Spanish with English subtitles DP Barbara Alvarez imparts a restrained—and very strange—spatial texture to Lucrecia Martel’s excitingly splintered third feature, about a woman (a stunning María Onetto) in a state of phenomenological distress following a mysterious road accident. Martel’s rare gift for building social melodrama from sonic and spatial textures, behavioral nuances, and an unerringly brilliant sense of the joys, tensions, and endless reserves of suppressed emotion lurking within the familial structure is here pushed to another level of creative daring. An NYFF46 selection. 35mm print courtesy of UCLA Film & Television Archive. Saturday, July 28, 1:00pm

Akiko Ashizawa Tokyo Sonata         Kiyoshi Kurosawa, Japan, 2008, 120m Japanese with English subtitles What strange deceptions lurk beneath the placid veneer of the average Japanese family? Horror maestro Kiyoshi Kurosawa’s unexpected—but wholly rewarding—foray into family melodrama-cum-black comedy quivers with an undercurrent of dread as salaryman dad (Teruyuki Kagawa) loses his job and desperately attempts to maintain the illusion that he’s still employed; his grade-school son (Kai Inowaki) rebels by secretly taking (gasp!) piano lessons; and mom (Kyōko Koizumi) finds what she’s been looking for with her own kidnapper. The elegant long shots of Akiko Ashizawa toy with the meticulous framings of Ozu as Kurosawa guides the film through a series of increasingly audacious tonal shifts. An NYFF46 selection. Tuesday, August 7, 6:45pm

Diane Baratier The Romance of Astrea and Celadon / Les amours d'Astrée et de Céladon Éric Rohmer, France, 2007, 35mm, 109m At the age of 88, Éric Rohmer bid adieu to cinema with this enchanting mythological idyll, which brims with all the vitality and freshness of youth. Frequent Rohmer cinematographer Diane Baratier conjures a sun-dappled bucolic dream vision of fifth-century Gaul, where a beguiling fable of romantic misunderstanding plays out when a band of druids and nymphs intervene in the lovers��� quarrel between androgynously beautiful shepherd Celadon (Andy Gillet) and his jealous paramour Astrea (Stéphanie Crayencour). Introducing hitherto untapped themes of gender and sexual fluidity into his work, Rohmer crafts an exalted paean to love both spiritual and carnal. An NYFF45 selection. Friday, August 3, 2:00pm Thursday, August 9, 7:00pm

Céline Bozon La France Serge Bozon, France, 2007, 35mm, 102m French with English subtitles In the fall of 1917, as World War I rages, a lovelorn soldier’s wife (Sylvie Testud) disguises herself as a man and sets off for the front in search of her missing husband. Along the way, she meets up with a company of soldiers under the command of a gruff lieutenant (Pascal Greggory), who reluctantly allows Camille to join their ranks. From time to time, these surprisingly sensitive, introspective men break out an assortment of homemade instruments and perform original songs written for the film by Benjamin Esdraffo and the artist known as Fugu, styled after the American “sunshine pop” of The Beach Boys and The Mamas and the Papas. Exquisitely shot by Céline Bozon (the director’s sister), this unclassifiable hybrid of war movie and movie musical is truly unlike anything you’ve ever seen before. Print courtesy of the Institut Français. Wednesday, August 1, 6:45pm Wednesday, August 8, 1:30pm

Natasha Braier The Milk of Sorrow / La teta asustada Claudia Llosa, Spain/Peru, 2009, 35mm, 94m Spanish and Quechua with English subtitles Fausta, the only daughter of an aged indigenous Peruvian mother, is said to have been nursed on “the milk of sorrow.” This accursed designation is bestowed on the children of victims of the former terrorist regime. Fausta has learned of her mother’s past and her own presupposed fate through invented song, which is both an art form and oral history tradition. Upon her mother’s death, she must venture beyond the safety of her uncle’s home and choose whether or not to lend her gift of song so that she can pay for a proper burial. Llosa and DP Natasha Braier capture the striking beauty of Lima’s outskirts, as well as a revelatory performance by Magaly Solier, with dignity and grace. Winner of the Golden Bear at the 2009 Berlin Film Festival. A New Directors/New Films 2009 selection. Sunday, July 29, 3:30pm (Q&A with Natasha Braier)

The Neon Demon Nicolas Winding Refn, Denmark/France/USA/UK, 2016, 118m Like a 21st-century Showgirls meets Suspiria, Nicolas Winding Refn’s delirious plunge into the fake plastic horror of the image-obsessed fashion industry trafficks in both high-camp excess and kaleidoscopically stylized splatter. Elle Fanning is the guileless recent L.A. transplant whose fresh-faced youth and beauty almost instantly land her a high-profile modeling contract. Whatever “it” is, she has it. And a coterie of monstrously jealous, flavor-of-last-month Hollyweird burnouts will stop at nothing to get it. Working in a supersaturated, electric day-glo palette, DP Natasha Braier fashions a sleek, freaky-seductive vision of L.A.’s dark side. Saturday, July 28, 8:00pm (Q&A with Natasha Braier)

Caroline Champetier The Gang of Four / La bande des quatre Jacques Rivette, France/Switzerland, 1989, 160m French and Portuguese with English subtitles Four women, a shadowy conspiracy, and a whole lot of acting exercises: we’re firmly in Rivette territory in one of the director’s most spellbinding explorations of the sometimes terrifyingly thin line between everyday life and the strangeness beneath it. A quartet of aspiring actresses live together while studying with a demanding coach (Bulle Ogier). As they rehearse Pierre Marivaux’s La Double inconstance, offstage drama creeps into their lives in the form of a menacing mystery man (Benoît Régent) with a sinister story to tell. Caroline Champetier’s moody lensing—muted reds, golds, and browns—creates the feeling of an all-enveloping universe operating according to its own paranoid logic. Friday, July 27, 3:15pm Wednesday, August 8, 6:15pm

Holy Motors Leos Carax, France, 2012, 116m French and English with English subtitles Cinematographers Caroline Champetier and Yves Cape both lensed this unclassifiable, expansive movie from Leos Carax about a man named Oscar (longtime collaborator Denis Lavant) who inhabits 11 different characters over the course of a single day. This shape-shifter is shuttled from appointment to appointment in Paris in a white-stretch limo driven by the soignée Edith Scob (Eyes Without a Face); not on the itinerary is an unplanned reunion with Kylie Minogue. To summarize the film any further would be to take away some of its magic; the most accurate précis comes from its own creator, who aptly described Holy Motors after its world premiere in Cannes as “a film about a man and the experience of being alive.” An NYFF50 selection. Saturday, August 4, 7:15pm Monday, August 6, 4:00pm

Le Pont du Nord Jacques Rivette, France, 1982, 129m French with English subtitles Paris becomes a labyrinthine life-size game board in one of the most elaborate of Jacques Rivette’s sprawling, down-the-rabbit-hole cine-puzzles. Bulle Ogier and her daughter Pascale star, respectively, as a hitchhiking ex-con and a leather-clad tough girl who meet by chance on the city streets, come into possession of a curious map, and find themselves caught in a sinister cobweb of underworld conspiracy. Shooting seemingly on the fly, almost documentary-style on the streets of Paris, cinematographers Caroline Champetier and William Lubtchansky telegraph a freewheeling, anything-goes sense of play, as well as a creeping surveillance paranoia. An NYFF19 selection. 4K restoration from the 16mm negative, supervised by Véronique Rivette and Caroline Champetier at Digimage Classic, with the help of the CNC. Friday, August 3, 6:30pm

Joan Churchill Aileen: Life and Death of a Serial Killer Nick Broomfield & Joan Churchill, UK/USA, 2004, 93m Just months after Monster made Aileen Wuornos a household name—and Charlize Theron an Oscar darling—documentarian Nick Broomfield and co-director/cinematographer Joan Churchill unleashed this riveting portrait of the real-life serial killer. Of the two films, it remains the more chilling experience, an unflinching face-to-face encounter with a deeply damaged soul who, as she prepares for her imminent execution, is at once eager to set the record straight, angrily defiant, and increasingly delusional. Daring to find the humanity in one of the most vilified criminals of the century, Broomfield and Churchill—whose camera remains ever-alert and skillfully unobtrusive—craft a haunting, complex look at a life gone wrong. Monday, July 30, 6:45pm (Q&A with Joan Churchill)

Ashley Connor Sneak Preview! The Miseducation of Cameron Post Desiree Akhavan, USA, 2018, 90m Based on the celebrated novel by Emily M. Danforth, Desiree Akhavan’s second feature follows the titular character (Chloë Grace Moretz) in 1993 as she is sent to a gay conversion therapy center after getting caught with another girl on prom night. In the face of intolerance and denial, Cameron meets a group of fellow sinners, including amputee stoner Jane (Sasha Lane) and her friend Adam (Forrest Goodluck), a Lakota Two-Spirit. Together, this group forms an unlikely family with a will to fight. Akhavan and DP Ashley Connor evoke the emotional layers of Danforth’s novel with an effortless yet considered attention to the spirit of the ’90s and the audacious, moving performances of the ensemble cast. A FilmRise release. Sunday, July 29, 6:00pm (Q&A with Ashley Connor)

Josée Deshaies House of Tolerance / L’Apollonide: Souvenirs de la maison close Bertrand Bonello, France, 2011, 35mm, 122m French with English subtitles “I could sleep for a thousand years,” drawls a 19th-century prostitute—paraphrasing Lou Reed—at the start of Bonello’s hushed, opium-soaked fever dream of life in a Parisian brothel at the turn of the century. House of Tolerance is, among other things, Bonello’s most gorgeous and complete application of musical techniques to film grammar, his most rigorous attempt to sculpt cinematic space, his most probing reflection on the origins of capitalist society, and his most sophisticated study of the movement of bodies under immense constraint. A shocking mutilation, a funeral staged to The Moody Blues’ “Nights in White Satin,” a progression of ritualized, drugged assignations and encounters: Bonello and frequent collaborator Josée Deshaies capture it all with a mixture of casual detachment and needlepoint precision. Wednesday, August 1, 2:00pm Sunday, August 5, 4:30pm

Crystel Fournier Tomboy Céline Sciamma, France, 2011, 35mm, 82m French with English subtitles A sensitive, heartrending portrait of what it feels like to grow up different, Céline Sciamma’s beautifully observed coming-of-age tale aches tenderly with the tangled confusion of childhood. When ten-year-old Laure’s family moves to a new neighborhood during the summer, the gender-nonconforming preteen (played by the impressively naturalistic Zoé Héran) takes the opportunity to present as Mickäel to the neighborhood kids—testing the waters of a new identity that neither friends nor family quite understand. Sciamma’s warmly empathetic tone is perfectly complemented by the soft-lit impressionism of Crystel Fournier’s glowing cinematography. Print courtesy of the Institut Français. Monday, August 6, 2:15pm Thursday, August 9, 9:15pm

Agnès Godard Beau Travail Claire Denis, France, 1999, 35mm, 92m French, Italian, and Russian with English subtitles Denis’s loose retelling of Billy Budd, set among a troop of Foreign Legionnaires stationed in the Gulf of Djibouti, is one of her finest films, an elemental story of misplaced longing and frustrated desire. Beneath a scorching sun, shirtless young men exercise to the strains of Benjamin Britten, under the watchful eye of Denis Lavant’s stone-faced officer Galoup, their obsessively ritualized movements simmering with barely suppressed violence. When a handsome recruit wins the favor of the regiment’s commander, cracks start to appear in Galoup’s fragile composure. In the tense, tightly disciplined atmosphere of military life, Denis found an ideal outlet for two career-long concerns: the quiet agony of repressing one’s emotions and the terror of finally letting loose. An NYFF37 selection. Print courtesy of the Institut Français. Thursday, July 26, 7:00pm (Q&A with Agnès Godard)

35 Shots of Rum / 35 rhums Claire Denis, France/Germany, 2008, 35mm, 100m French and German with English subtitles When is a rice cooker more than just a rice cooker? When it’s in the masterful hands of Claire Denis, who somehow transforms it into a moving metaphor for the evolving relationship between a Parisian train conductor (Alex Descas) and his devoted twenty-something daughter (Mati Diop) as he gently nudges her out of the nest and each tests the waters of new relationships. Warmed by the ember-glow of Agnès Godard’s beautifully burnished cinematography, Denis’s delicately bittersweet take on the Ozu-style family drama conveys worlds of meaning and emotion—attraction, heartache, loss, hope—in a mere glance, a gesture, and, yes, a kitchen appliance. Thursday, July 26, 9:30pm (Introduction by Agnès Godard) Tuesday, July 31, 1:00pm

The Intruder / L'intrus Claire Denis, France, 2005, 35mm, 130m French, English, Korean, Russian, and Polynesian with English subtitles Rich, strange, and tantalizingly enigmatic, Denis’s crypto-odyssey is a mesmeric sensory experience that haunts like a half-remembered dream. Inspired by a book by philosopher Jean-Luc Nancy, The Intruder skips across time and continents—from the Alpine wilds to a neon-lit Korea to a tropical Tahiti suffused with languorous melancholy—as it traces the journey of an inscrutable, ailing loner (Michel Subor) seeking a black market heart transplant and his long-lost son. An impressionist wash of hallucinations, memories, and dreams are borne along on the lush textures of Agnès Godard’s shimmering cinematography. Print courtesy of the Institut Français. Saturday, July 28, 3:00pm (Q&A with Agnès Godard) Thursday, August 9, 4:15pm

Kristen Johnson Cameraperson Kirsten Johnson, USA, 2016, 102m How much of one’s self can be captured in the images shot of and for others? Kirsten Johnson’s work as a director of photography and camera operator has helped earn her documentary collaborators (Laura Poitras, Michael Moore, Kirby Dick, Barbara Kopple) nearly every accolade and award possible. Recontextualizing the stunning images inside, around, and beyond the works she has shot, Johnson constructs a visceral and vibrant self-portrait of an artist who has traveled the globe, venturing into landscapes and lives that bear the scars of trauma both active and historic. Rigorous yet nimble in its ability to move from heartache to humor, Cameraperson provides an essential lens on the things that make us human. A 2016 New Directors/New Films selection. Friday, July 27, 6:30pm Thursday, August 2, 4:15pm

Derrida Kirby Dick & Amy Ziering, USA, 2002, 35mm, 84m Postmodern intellectual rockstar Jacques Derrida receives an appropriately self-reflexive portrait in this playful, probing documentary. Framed by the French philosopher’s statements about the inherent unreliability of biography, it finds co-director Amy Ziering attempting to tease out the links between Derrida’s radically influential thinking (he expounds on everything from forgiveness to Seinfeld) and his own life. Even as the alternately witty and reflective Derrida remains cagey about personal matters, Kirsten Johnson’s attentive camera captures revealing flashes of the man behind the ideas. What emerges is a fascinating interrogation of filmic truth: a documentary that relentlessly deconstructs itself. Friday, July 27, 8:45pm

Ellen Kuras Eternal Sunshine of the Spotless Mind Michel Gondry, USA, 2004, 35mm, 108m The feverish imaginations of DIY surrealist Michel Gondry and screenwriter Charlie Kaufman kick into overdrive for the great gonzo sci-fi romance of the early 2000s. When nice guy dweeb Joel (Jim Carrey) encounters blue-haired spitfire Clementine (Kate Winslet) on the LIRR, there’s a spark of attraction, but also something familiar—almost as if they’ve met before… Cue a ping-ponging, time- and space-collapsing journey through memory and a star-crossed love gone sour. The high-contrast handheld camerawork of Ellen Kuras enhances the whiplash sense of disorientation in what is, ultimately, a heart-wounding parable about the ways in which we inevitably hurt those we love most. Wednesday, August 1, 4:30pm Saturday, August 4, 9:30pm

Swoon Tom Kalin, USA, 1992, 35mm, 93m One of the most daring works to emerge from the New Queer Cinema movement of the early 1990s, Swoon offers a radical, revisionist perspective on the infamous Leopold and Loeb murder case. Channeling the spirits of Dreyer, Bresson, and Jean Genet, director Tom Kalin challenges viewers to identify with two of the most notorious killers of the 20th century, their crime—the Nietzsche-influenced thrill killing of a schoolboy in 1920s Chicago—and punishment recounted in ghostly black and white by Ellen Kuras. Throughout, Kalin cannily deconstructs the ways in which Leopold and Loeb’s homosexuality has been historically sensationalized and demonized—a provocative analogy for queer persecution in the AIDS era. Monday, July 30, 2:00pm Monday, August 6, 8:30pm

Sabine Lancelin La captive Chantal Akerman, France/Belgium, 2000, 35mm, 118m French with English subtitles Chantal Akerman’s hypnotic exploration of erotic obsession plays like Vertigo filtered through the director’s visionary feminist formalism. Loosely inspired by the fifth volume of Proust’s In Search of Lost Time, it circles around the very-strange-indeed relationship between the seemingly pliant Ariane (Sylvie Testud) and the disturbingly jealous Simon (Stanislas Merhar), whose need to possess her completely in turn renders him hostage to his own destructive desires. The coolly contemplative camera style of Sabine Lancelin imparts an unbroken, trance-like tension, which finds release only in the thunderous roil of the operatic score. Print courtesy of Cinémathèque Royale de Belgique. Sunday, July 29, 1:00pm

The Strange Case of Angelica / O Estranho Caso de Angélica Manoel de Oliveira, Portugal, 2010, 35mm, 97m Manoel de Oliveira’s sly, metaphysical romance—made when the famously resilient director was a mere 102 years old—is a mesmerizing, beyond-the-grave rumination on love, mortality, and the power of images. On a rain-slicked night, village photographer Isaac (Ricardo Trêpa) is summoned by a wealthy family to take a picture of their beautiful, recently deceased daughter Angelica (Pilar López de Ayala). What ensues is a ghostly tale of romantic obsession as Isaac finds his dreams—and his photographs—haunted by the spirit of the bewitching young woman. The crisp chiaroscuro compositions of cinematographer Sabine Lancelin enhance the film’s otherworldly, unstuck-in-time aura. An NYFF48 selection. Friday, July 27, 1:00pm Wednesday, August 1, 9:00pm

Jeanne Lapoirie Eastern Boys Robin Campillo, France, 2013, 128m French with English subtitles Jeanne Lapoirie’s surveillance-style camera, looking from above, masterfully follows the men who loiter around the Gare du Nord train station in Paris as they scrape by however they can, forming gangs for support and protection, ever fearful of being caught by the police and deported. When the middle-aged, bourgeois Daniel (Olivier Rabourdin) approaches a boyishly handsome Ukrainian who calls himself Marek for a date, he learns the young man is willing to do anything for some cash. What Daniel intends only as sex-for-hire begets a home invasion and then an unexpectedly profound relationship. The drastically different circumstances of the two men’s lives reveal hidden facets of the city they share. Presented in four parts, this absorbing, continually surprising film by Robin Campillo (BPM: Beats Per Minute) is centered around relationships that defy easy categorization, in which motivations and desires are poorly understood even by those to whom they belong. Monday, July 30, 4:00pm Saturday, August 4, 4:45pm

Rain Li Paranoid Park Gus Van Sant, USA, 2007, 35mm, 85m At once a dreamlike portrait of teen alienation and a boldly experimental work of film narrative, Paranoid Park finds Gus Van Sant at the height of his powers. A withdrawn high-school skateboarder (Gabe Nevins) struggles to make sense of his involvement in an accidental death. He recalls past events across tides of memory, and expresses his feelings in a diary—which is, in effect, the movie we are watching. The extraordinary skating scenes, filmed by cinematographers Rain Li and Christopher Doyle in a lyrical mixture of Super 8 and 35mm, depict their subjects soaring in space, momentarily free of the earthly troubles of adolescence. An NYFF45 selection. Tuesday, August 7, 9:15pm

Hélène Louvart Beach Rats Eliza Hittman, USA, 2017, 95m Hittman follows up her acclaimed debut, It Felt Like Love, with this sensitive chronicle of sexual becoming. Frankie (a breakout Harris Dickinson), a bored teenager living in South Brooklyn, regularly haunts the Coney Island boardwalk with his boys—trying to score weed, flirting with girls, killing time. But he spends his late nights dipping his toes into the world of online cruising, connecting with older men and exploring the desires he harbors but doesn’t yet fully understand. Sensuously lensed on 16mm by cinematographer Hélène Louvart, Beach Rats presents a colorful and textured world roiling with secret appetites and youthful self-discovery. A 2017 New Directors/New Films selection. A Neon release. Thursday, August 2, 9:00pm

Pina [in 3D] Wim Wenders, Germany/France, 2011, 106m German, English, and French with English subtitles Wim Wenders began planning this project with legendary choreographer Pina Bausch in the months before her untimely death, selecting the pieces to be filmed and discussing the filmmaking strategy. Impressed by recent innovations in 3D, Wenders decided to experiment with the format for this tribute to Bausch and her Tanztheater Wuppertal; the result sets the standard against which all future uses of 3D to record performance will be measured. Not only are the beauty and sheer exhilaration of the dance s and dancers powerfully rendered by Hélène Louvart and Jörg Widmer’s lensing, but the film also captures the sense of the world that Bausch so brilliantly expressed in all her pieces. Longtime members of the Tanztheater recreate many of their original roles in such seminal works as “Café Müller,” “Le Sacre du Printemps,” and “Kontakthof.” An NYFF49 selection. Sunday, August 5, 2:00pm Tuesday, August 7, 2:00pm

The Wonders Alice Rohrwacher, Italy/Switzerland/Germany, 2014, 110m French with English subtitles Winner of the Grand Prix at the Cannes Film Festival, Alice Rohrwacher’s vivid story of teenage yearning and confusion revolves around a beekeeping family in rural central Italy: German-speaking father, Italian mother, four girls. Two unexpected arrivals prove disruptive, especially for the pensive oldest daughter, Gelsomina. The father takes in a troubled teenage boy as part of a welfare program, and a television crew shows up to enlist local farmers in a kitschy celebration of Etruscan culinary traditions (a slyly self-mocking Monica Bellucci plays the bewigged host). Hélène Louvart’s lensing combines a documentary attention to daily ritual with an evocative atmosphere of mystery to conjure a richly concrete world that is subject to the magical thinking of adolescence. An NYFF52 selection. Friday, August 3, 9:15pm Wednesday, August 8, 3:45pm

Irina Lubtchansky Around a Small Mountain / 36 vues du Pic Saint Loup Jacques Rivette, France/Italy, 2009, 35mm, 84m French with English subtitles     The final film from arch gamesman Jacques Rivette is a captivating variation on one of the themes that most obsessed him: the ineffable interplay between life and performance. Luminously photographed by Irina Lubtchansky in the open-air splendor of the south of France, it revolves around an Italian flaneur (Sergio Castellitto) who finds himself drawn into the world of a humble traveling circus led by the elusive Kate (Jane Birkin), whose enigmatic past becomes a tantalizing mystery he is determined to solve. In a career studded with sprawling shaggy dog epics, Rivette’s swan song is a deceptively slight grace note that contains multitudes. An NYFF47 selection.

Preceded by: Sarah Winchester, Ghost Opera / Sarah Winchester, Opera Fantôme Bertrand Bonello, France, 2016, 24m North American Premiere A film to stand in for an opera unmade: Bonello’s moody, baroque meditation on the heiress to the Winchester rifle fortune plays like a ballet-cum-horror film, an ornate tapestry of enigmatic images, chilling synths, and traces of a tragic and eccentric life. An NYFF54 selection. A Grasshopper Film release. Friday, August 3, 4:15pm Wednesday, August 8, 9:15pm

Babette Mangolte The Camera: Je or La Camera: I Babette Mangolte, USA, 1977, 88m Though perhaps best known as the cinematographer for Chantal Akerman’s groundbreaking 1970s work—as well as for her collaborations with avant-garde icons like Yvonne Rainer, Trisha Brown, and Marina Abramović—Babette Mangolte is a singular cinematic visionary in her own right. In this structuralist auto-portrait, Mangolte allows viewers to peer through the lens of her camera as she produces a series of still photographs, first of models, then of the streetscapes of downtown Manhattan. As we experience the act of image-making through her eyes, what emerges is a heady consideration of the art and act of seeing and of the complex relationship between photographer, subject, and viewer. Monday, August 6, 6:30pm

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles Chantal Akerman, Belgium/France, 1976, 35mm, 201m French with English subtitles A landmark of feminist art, Chantal Akerman’s minimalist masterpiece is both a monumental and microscopic view of three days in the life of a fastidious Belgian single mother (a sphinx-like Delphine Seyrig) as she goes about her housework, peeling potatoes and washing dishes with the same clinical detachment with which she makes love to the occasional john. And then slowly, almost imperceptibly, things begin to go awry… The rigorous, relentlessly impassive gaze of Babette Mangolte’s camera is transfixing but, in the words of the director, “never voyeuristic”; it’s a uniquely feminine way of seeing made manifest by one of the most sui generis filmmaker-cinematographer partnerships in history. Tuesday, July 31, 3:15pm Saturday, August 4, 1:00pm

Claire Mathon Stranger by the Lake / L’inconnu du lac Alain Guiraudie, France, 2013, 97m French with English subtitles Alain Guiraudie’s Cannes-awarded exploration of death and desire unfolds entirely in the vicinity of a gay cruising ground that becomes a crime scene. Franck (Pierre Deladonchamps) is a regular at a lakeside pickup spot, where he finds companionship both platonic and carnal. But his new paramour Michel (Christophe Paou) turns out to be a love-’em-and-leave-’em type, in the deadliest sense… Guiraudie has long been a singular voice in French cinema: anti-bourgeois, at ease in nature, a true regionalist and outsider. Here he and DP Claire Mathon capture naked bodies and hardcore sex with the same matter-of-fact sensuousness they bring to ripples on the water and the fading light of dusk. An NYFF51 selection. Monday, July 30, 9:15pm Thursday, August 9, 2:00pm

Reed Morano Sneak Preview! I Think We’re Alone Now Reed Morano, USA, 2018, 93m Pulling double duty as director and cinematographer, Reed Morano finds the melancholic beauty in the end of the world with this gorgeous and strange drama starring Peter Dinklage and Elle Fanning as the last people on Earth. When the film opens in a desolate upstate New York, the misanthropic Del (Dinklage) is performing rote, custodial tasks to clean up the chaos left around his hometown—and relishing his newfound solitude—until another, sprightly survivor (Fanning) arrives. Winner of the Special Jury Prize for Excellence in Filmmaking at the 2018 Sundance Film Festival, I Think We’re Alone Now is a visually audacious entry in the postapocalyptic genre and an idiosyncratic take on loneliness and grief.   Thursday, August 2, 6:30pm

Rachel Morrison Fruitvale Station Ryan Coogler, USA, 2013, 85m Coogler’s remarkable debut feature explores the life and harrowing death of Oscar Grant (played by Michael B. Jordan), a 22-year-old African-American man killed by police in the early hours of January 1, 2009. Six months after sweeping both the Grand Jury Prize and the Audience Award at the Sundance Film Festival, Fruitvale Station opened on the same weekend that jurors in Florida acquitted George Zimmerman in the death of Trayvon Martin. Rachel Morrison’s gripping, exploratory Super 16 on-location camerawork dramatizes the unseen complexities and personal relationships of Grant’s inner circle with a startling sense of urgency, emotion, and the unflagging awareness of a preventable tragedy too often seen in the news cycle. Sunday, August 5, 7:00pm

Free Talk: The Female Gaze Join us for an hour-long conversation with cinematographers Natasha Braier, Ashley Connor, Agnès Godard, and Joan Churchill as they discuss the series and reflect on their careers and influences, and how they approach their craft. Sponsored by HBO®. Saturday, July 28, 6:30pm* Elinor Bunin Munroe Film Center, Amphitheater, 144 W 65th Street