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<blockquote type=cite class=cite cite="">Fr<br>
<blockquote type=cite class=cite cite="">
<font face="Helvetica, Helvetica"><b>From: </b>"French Film in
L.A."
<<a href="mailto:frenchfilminla@consulfrance-losangeles.org">
frenchfilminla@consulfrance-losangeles.org</a>><br>
<b>Date: </b>January 14, 2009 4:36:49 PM PST<br>
<b>To: </b><@consulfrance-losangeles.org;><br>
<b>Subject: Newsletter French Films In L.A.<br>
</b></font><br>
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<br>
<b> <br>
PROUDLY SUPPORTS<br>
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<b>Special Events<br>
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</b></font></div>
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</font><font face="Times New Roman, Times" size=2> <br>
</font><font face="Arial, Helvetica" size=2><b> <br>
<br>
THE AERO THEATRE PRESENTS<br>
<br>
<br>
</font><font face="Arial, Helvetica"> <br>
</font><font face="Arial, Helvetica" size=2>CONFIDENTIALLY YOURS<br>
A WEEKEND WITH FRANÇOIS TRUFFAUT<br>
<br>
</font><font face="Arial, Helvetica"> <br>
</font><font face="Arial, Helvetica" size=2>January 16 to 21, 2009<br>
<br>
At the<br>
<a href="http://www.americancinematheque.com/Aero/aeromastercalendar.htm">
<img src="cid:7.1.0.9.2.20090115154024.03fb2b98@ucr.edu.13" width=540 height=136 alt="[]">
</a></b><br>
<b> <br>
1328 Montana Avenue,<br>
Santa Monica, CA 90403<br>
<br>
</font><font face="Arial, Helvetica"> <br>
</b>Few directors exhibit a passion for cinema as intense and infectious
as François Truffaut, who once said that any great film must express
either the joy of making cinema or the agony of making cinema. His own
work was filled with joy and enthusiasm, even when exploring the darkest
corners of the human heart.<br>
<br>
Truffaut began, like his contemporaries Godard, Chabrol, Rohmer and
Rivette, as a critic for the legendary French journal Cahiers du Cinema,
where he feasted on film as a young man. Eventually he put his theories
into practice, and his debut feature,<br>
<br>
THE 400 BLOWS, was a sensation upon its release in 1959;<br>
along with Godard’s BREATHLESS, it announced a new kind of cinema, the
French New Wave.<br>
While Godard would become progressively more political and experimental,
Truffaut spent his career veering from one kind of movie to another: from
the deeply personal autobiography of the Antoine Doinel films to genre
exercises like CONFIDENTIALLY YOURS and THE WOMAN NEXT DOOR. He also gave
the international cinema one of its greatest masterpieces (JULES AND JIM)
and influenced everyone from Spielberg and Scorsese to Paul Mazursky and
Blake Edwards.<br>
</font><font face="Arial, Helvetica" size=2><br>
<div align="center"> <br>
</font></div>
<font face="Arial, Helvetica">Truffaut himself was profoundly influenced
by Alfred Hitchcock, whom he vigorously defended in print, eventually
publishing a landmark interview book with the master. Although Truffaut’s
output is as varied as that of Howard Hawks or Michael Curtiz, his films
are all linked by a common thread: the director’s deeply felt
humanism.<br>
Like his hero Jean Renoir, he believed that every man, no matter how
superficially evil, had his reasons.<br>
Yet the lessons of Hitchcock are visible throughout Truffaut's oeuvre
<br>
</font><font face="Arial, Helvetica" size=2><br>
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<font face="Arial, Helvetica">Critic Cyril Neyrat explains,
"Truffaut learned from his master the secret of the uncanny:
expanding or contracting time, centering on faces or objects, adding
density to his images through a montage of characters looking that
infuses everyday reality with a morbid anxiety."<br>
(François Truffaut, Cahiers du Cinema/Le Monde: 2008)<br>
<br>
</font><font face="Arial, Helvetica" size=2><b> <br>
<br>
<div align="center">January 16 – 7:30 PM<br>
</div>
At the Aero Theatre<br>
Double Feature: New 35mm Print<br>
</b></font><font face="Arial, Helvetica"> <br>
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</font><h5><b> </i></b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2>JULES AND JIM,<br>
1962, Janus Films, 105 min.<br>
With Jeanne Moreau, Oskar Werner.<br><br>
</font><h5><b>In one of the greatest films of the French New Wave,
Truffaut elevates the materials of old-fashioned melodrama into high art:
Two friends are forced to fight on different sides during World War I and
fall in love with the same woman during peacetime. The film follows the
shifting relationships and affections among the three characters over the
course of many years, creating a powerful emotional experience that is
both intimate and epic.</b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2> <br>
TWO ENGLISH GIRLS<br>
(LES DEUX ANGLAISES ET LE CONTINENT)<br>
1971, Janus Films, 108 min.<br><br>
</font><h5><b>In a sort of reverse-gender JULES AND JIM, a young writer
(perennial Truffaut surrogate Jean-Pierre Léaud) finds himself in a
long-term affair with two sisters. Truffaut returns to his earlier film’s
themes with an older, more melancholy eye; youthful enthusiasm has given
way to mature resignation, and the sophistication of Truffaut’s ideas is
matched by his most visually stunning images (courtesy of legendary
cinematographer Nestor Almendros).</b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2> <br>
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<div align="center"><b>January 17 – 7:30 PM<br>
</div>
At the Aero Theatre<br>
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<br>
</font><h5><b> </i></b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2>THE 400 BLOWS<br>
(LES QUATRE CENTS COUPS)<br>
1959, Janus Films, 99min<br><br>
</font><h5><b>Jean-Pierre Léaud plays a young boy struggling against the
constrictions of bourgeois conformity in this deeply personal
masterpiece. Both a coming-of-age classic and the greatest feature debut
since Welles’ CITIZEN KANE 18 years earlier, this, along with Godard’s
BREATHLESS, is one of the films that announced the arrival of the French
New Wave to an international cinema
audience.</b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2> <br>
"ANTOINE AND COLLETTE"<br>
1962, Janus Films, 32 min.<br>
<br><br>
</font><h5><b>In this second appearance of Truffaut’s alter ego, Antoine
Doinel, Antoine (Jean-Pierre Léaud) is now a teenager on the verge of his
first love affair -- an affair that will begin his lifetime of restless
searching for romance. Originally part of the omnibus film LOVE AT
TWENTY, this short more than stands on its own and serves as an essential
chapter in the Doinel saga.</b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2> <br>
STOLEN KISSES (BAISERS VOLÉS) 1968, Janus Films, 90 min. .<br>
With Delphine Seyrig<br>
<br><br>
</font><h5><b>In the third Antoine Doinel film, Antoine (Jean-Pierre
Léaud) returns to Paris after a dishonorable discharge from the army.
There, he finds himself trying a series of ridiculous jobs (including
private detective) as he falls hopelessly in love. Lyrical and nostalgic,
this is one of Truffaut’s most romantic films, which is really saying
something. With Delphine Seyrig.</b></h5><font size=2><br>
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</font><font face="Arial, Helvetica"><b> <br>
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<br>
<div align="center"><b>January 18 – 7:30 PM<br>
</div>
At the Aero Theatre<br>
Double Feature: New 35mm Print!<br>
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<br>
</font><h5><b> </i></b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2>SHOOT THE PIANO PLAYER<br>
(TIREZ SUR LE PIANISTE)<br>
1960, Janus Films, 92 min.<br><br>
</font><h5><b>François Truffaut once said that every filmmaker’s first
movie is a mad rush of ideas, while every second movie is an exercise in
style. This, his own second movie, is both: a stylistic tour de force
filled with innovative visual ideas, but also a longing, bittersweet
character study of uncommon depth and resonance. Charles Aznavour is a
washed-up concert pianist unable to return to his former glory due to
connections with gangsters and other nefarious types; Marie Dubois is the
woman who loves him. A long confession scene is Truffaut’s tribute to
Ingrid Bergman’s 10 minute confession in Hitchcock’s UNDER CAPRICORN.
Adapted from the great novel Down There by David Goodis (who also wrote
DARK PASSAGE).</b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2> <br>
THE LAST METRO<br>
(LE DERNIER METRO),<br>
1980, Janus Films, 131 min.<br><br>
</font><h5><font face="Times New Roman, Times"><b> </font>During the
German occupation of Paris, a theater company struggles to produce a new
play while its director is forced to hide in the basement, leaving his
wife (Catherine Deneuve) to carry on an affair with the new leading man
(Gerard Depardieu). This meditation on the ultimate powerlessness of the
artist is surprisingly charming given its heavy subject matter, and
Deneuve is as elegant and compelling as
ever.</b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2><br>
</font><h5><font face="Times New Roman, Times"><b> </b></font></h5>
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</font><font face="Arial, Helvetica" size=2><b> <br>
<br>
</b> <br>
<div align="center"><b>January 21 – 7:30 PM<br>
</div>
At the Aero Theatre<br>
</b></font><font face="Arial, Helvetica"> <br>
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</font><div align="center"><font face="Arial, Helvetica" size=2><br>
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</font><h5><b> </i></b></h5><font size=2><br><br>
</font><font face="Arial, Helvetica" size=2>CONFIDENTIALLY YOURS<br>
(VIVEMENT DIMANCHE!),<br>
1983, Janus Films, 110 min.<br><br>
In François Truffaut’s delightfully entertaining tribute to Hitchcock, a
businessman (Jean-Louis Trintignant) is wrongly accused of murder, and
while he goes on the lam his secretary (Fanny Ardant) tries to find the
real killer. Gorgeous black-and-white photography by Nestor Almendros and
a witty screenplay (by Truffaut and frequent collaborators Suzanne
Schiffman and Jean Aurel, adapting hardboiled American writer Charles
Williams’ The Long Saturday Night) make this one of the director’s most
enjoyable efforts.<br><br>
<div align="center">Film critic <b>Kevin Thomas<br>
</b></div>
<br>
<div align="center">will introduce the screening.<br>
</div>
<br>
</font><h5><font face="Times New Roman, Times"><b> </b></font></h5>
<font size=2><br><br>
</font><font face="Arial, Helvetica" size=2><b> <br>
<br>
</b><br>
<div align="center">Special Thanks: Bill Krohn and Sarah Finklea/JANUS
FILMS<br>
</font></div>
<font face="Arial, Helvetica"> <br>
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</font><font face="Times New Roman, Times"> <br>
</font><font face="Arial, Helvetica" size=2><b> <br>
<a href="http://www.rialtopictures.com/made.html">
<img src="cid:7.1.0.9.2.20090115154024.03fb2b98@ucr.edu.21" width=200 height=103 alt="[]">
</a></b><br>
<b>PRESENTS<br>
</font><font face="Arial, Helvetica"> <br>
</font><font face="Arial, Helvetica" size=2>Jean Luc Godard’s<br>
MADE IN USA<br>
</font><font face="Arial, Helvetica"><i> <br>
<img src="cid:7.1.0.9.2.20090115154024.03fb2b98@ucr.edu.22" width=351 height=527 alt="[]">
</i></b></font><font face="Arial, Helvetica" size=2><br>
<b> <br>
</font><font face="Arial, Helvetica">Jean Luc Godard, 1966, Crime/Mystery
– 90 min<br>
</b></font><font face="Arial, Helvetica" size=2>New 35 mm film - In
French, fully subtitled in English<br>
<b> <br>
</font><font face="Arial, Helvetica"> <br>
</font><font face="Arial, Helvetica" size=2>Opens January 16, 2009<br>
<br>
at<br>
<img src="cid:7.1.0.9.2.20090115154024.03fb2b98@ucr.edu.23" width=275 height=75 alt="[]">
</b><br>
<b>11272 Santa Monica Boulevard,<br>
West Los Angeles, CA 90025<br>
</b>( just west of the 405 Freeway )<br>
</font><font face="Arial, Helvetica"><b> <br>
</b></font><font face="Arial, Helvetica" size=2> <br>
</font><font face="Arial, Helvetica">Writer/director Jean-Luc Godard's
mod film noir, first intended as a reworking of Raymond Chandler's
classic The Big Sleep, but essentially based on Donald Westlake's novel
The Jugger, is a Pop Art mixture of loving homage to the films of
Nicholas Ray and Samuel Fuller and the realism favored by Godard.<br>
It is one of the filmmaker's pivotal features, and the last he made with
his wife/star Anna Karina (Alphaville, Band of Outsiders, Pierrot le
fou), who plays a young woman caught up in a mysterious, convoluted Cold
War conspiracy. Due to legal difficulties, Made in U.S.A. never received
an 'official' U.S release, but can now be seen in a new 35mm widescreen
print (from the original camera negative) with a new translation and new
subtitles.<br>
<br>
Co-starring Jean-Pierre Léaud, László Szabó and Marianne Faithfull as
herself, singing "As Tears Go By."<br>
Cinematography by the legendary Raoul Coutard.<br>
</font><font face="Arial, Helvetica" size=2> <br>
<b><a href="http://www.rialtopictures.com/made_trailer.html">View
Trailer</a><br>
<br>
</b>Program information: 310-281-8223 or on
<a href="http://www.landmarktheatres.com/">landmarktheatres.com</a><br>
</font><font face="Times New Roman, Times"> <br>
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<br>
<br>
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<div align="center"><br>
</font></div>
<font face="Arial, Helvetica" size=2> <br>
<br>
<b>The Los Angeles Film & TV Office<br>
</b><br>
</font><div align="center"><h1><b>French Embassy in the
US</b></h1><font size=2><br><br>
</font></div>
<font face="Arial, Helvetica" size=2><br>
</font><div align="center"><h1><font face="Times New Roman, Times" size=6>
<b> </b></font></h1><font size=2><br><br>
</font></div>
<font face="Verdana" color="#000080"><i>10390 Santa Monica Blvd. suite
410, Los Angeles, CA 90025<br>
</i></font><font face="Arial, Helvetica" size=2><br>
</font><div align="center"><h2><b>W# 310 235
3231</i></b></h2><font size=2><br><br>
</font></div>
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</font><div align="center"><h2><b> </b></h2><font size=2><br><br>
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</font><div align="center"><h2><b> </i></b></h2><font size=2><br><br>
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<font face="Arial, Helvetica" size=2> <br>
</font><font face="Times New Roman, Times"> <br>
<br>
</font><font face="Arial, Helvetica" size=2>-- Before Printing Please
<b>Think</b> About The <b>Environment</b> --<br>
</font><font face="Times New Roman, Times"> <br>
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