On Friday night we present a critical biography of a filmmaker who sought to merge life and art and began to forget that the camera view wasn't life and the screen wasn't the stage and the world was more than that dialectic. And then we'll project one of his lesser-shown films, which purports to be about a woman's affair but is about the way the visual ad-driven media has fucked sex for everyone.
This is the first in a series.
July 23 7:30 p.m.
600 Vanderbilt Ave.
718-789-1534
When they come out, books have parties. Over the first months of their release they'll get a few parties in a few different regions. After that, nothing.
What about those books still good past their appointed shelf life? Maybe they should get a party now and then, too.
But this is a CINEMA series. So we're showing films, and celebrating books related to the films, and bringing in the authors to talk about the books AND the films, years after that initial tiny birth-death cycle of publishing. And we'll be drinking wine.
July 23rd will by the first installment of this reading/screening party. We'll be showing A MARRIED WOMAN by Jean-Luc Godard, and celebrating the book EVERYTHING IS CINEMA by Richard Brody. Brody will be present to discuss the book, two years later, and talk about A MARRIED WOMAN, forty-six years later. And we'll sit outside and have some wine.
But this is a CINEMA series. So we're showing films, and celebrating books related to the films, and bringing in the authors to talk about the books AND the films, years after that initial tiny birth-death cycle of publishing. And we'll be drinking wine.
July 23rd will by the first installment of this reading/screening party. We'll be showing A MARRIED WOMAN by Jean-Luc Godard, and celebrating the book EVERYTHING IS CINEMA by Richard Brody. Brody will be present to discuss the book, two years later, and talk about A MARRIED WOMAN, forty-six years later. And we'll sit outside and have some wine.
EVERYTHING IS CINEMA: THE WORKING LIFE OF JEAN-LUC GODARD (Metropolitan, 2008) Paying as much attention to Godard’s technical inventions as to the political forces of the postwar world, New Yorker critic Richard Brody traces an arc from the director’s early critical writing, through his popular success with Breathless, to the grand vision of his later years.
A MARRIED WOMAN (1964, Godard) Macha Méril plays Charlotte — the title character. She’s married to aviator Pierre. She sleeps with thespian Robert. She talks “intelligence” with renowned critic-filmmaker Roger Leenhardt, and takes part in a fashion-shoot at a public pool. The “fragments” of the film’s subtitle are chapters, episodes, vignettes, tableaux; Une femme mariée is a pile of magazines made into a film, and a film turned into a magazine — the table of contents reading: Alfred Hitchcock. Jean Racine. La Peau douce. A Peruvian serum. Nuit et brouillard. The “Eloquence” bra. The quartets of Beethoven. Madame Céline. Fantômas. Robert Bresson. A Volkswagen making a right turn. A film shot in 1964, and in black and white.
Upcoming events in this series will include Cineaste's Richard Porton (Film and the Anarchist imagination) with Vigo and Bruñuel, and Robert Gardner with Robert Gardner.
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