Tag Archives: American Cinematheque

GAINSBOURG’S JE T’AIME MOI NON PLUS

This week, La Collectionneuse and the American Cinematheque present the 4K restoration of Serge Gainsbourg’s 1976 film JE T’AIME MOI NON PLUS, its first Los Angeles screening in many years. Starring Jane Birkin, Joe Dallesandro, and Hugues Quester, this truck-stop triangle was the first of only two features films Gainsbourg directed.

“Serge is the one who approached me. [Jane and Serge] were great people. Just a great couple that were truly a couple. They were fun to be with. It was really difficult to shoot a film where your love interest is the wife of the man who’s directing it. The film had to be erotic and I had to be very cool. I was doing multiplication tables in my head the whole time. But I loved both of them very much. They were very special people…

“[JE T’AIME MOI NON PLUS] was ahead of its time. I thought the public was gonna be ready for that kind of story. I thought it’d have been a nice success if they’d released it back then. But they weren’t giving Serge the kind of play he wanted.” — Joe Dallesandro

  JE T’AIME MOI NON PLUS

Wednesday, July 24, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Jane Birkin and Joe Dallesandro in Je t’aime moi non plus, with Hugues Quester (third from top, right) and director Serge Gainsbourg (fourth from top, center, on raft, and sixth from top, second from right).

LA COLLECTIONNEUSE

This week in Hollywood, Kalyane Lévy’s La Collectionneuse will screen the film her program is named for.

Co-presented by Women & Film and the American Cinematheque, Éric Rohmer’s LA COLLECTIONNEUSE (1967) is one of his beloved contes moraux, and stars Haydée Politoff, Patrick Bauchau, and Daniel Pommereulle.

Stay for post-screening drinks and music, with a DJ set by DJ Izella.

LA COLLECTIONNEUSE

Friday, June 21, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Haydée Politoff and Patrick Bauchau in La Collectionneuse.

ELIO PETRI — THE 10TH VICTIM

In THE 10TH VICTIM, the great Italian director Elio Petri sets his characteristic socio-political critique amid sci-fi thrills and an explosion of mid-sixties glamour—courtesy of production designer Piero Poletto and iconic stars Ursula Andress and Marcello Mastroianni.

The populace of Rome, ensconced in an Op-art wonderland, compete for televised fame and fortune in a legal game of hunter and hunted—themes borrowed by The Hunger Games nearly half a century later.

Gianni Di Venanzo—who, like Poletto, worked with Antonioni—was the film’s cinematographer. Tonino Guerra, Giorgio Salvioni, and Ennio Flaiano wrote the screenplay with Petri, and Piero Piccioni composed the propulsive score.

This weekend, the American Cinematheque, the Art Directors Guild Film Society, and The Hollywood Reporter present a rare local screening of THE 10TH VICTIM, followed by a panel discussion with Frances Anderton—host of KCRW‘s DnA: Design and ArchitectureUSC professor Nicholas J. Cull, and production designers Guy Hendrix Dyas and John Muto.

THE 10TH VICTIM

Sunday, May 19, at 5:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

Ursula Andress and Marcello Mastroianni in The 10th Victim (1965), directed by Elio Petri, production design by Piero Poletto. Elsa Martinelli on phone (fourth from top).

PASOLINI AT THE AERO

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

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

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

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

SALÒ and PIGSTY

Thursday, May 16, at 7:30 pm.

THE DECAMERON and OEDIPUS REX

Friday, May 17, at 7:30 pm.

THE CANTERBURY TALES and TEOREMA

Saturday, May 18, at 7:30 pm.

ARABIAN NIGHTS and MEDEA

Sunday, May 19, at 7:30 pm.

THE GOSPEL ACCORDING TO ST. MATTHEW

Monday, May 20, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

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

ASSAYAS DOUBLE BILL AT THE AERO

To mark the release of NON-FICTION—the new film from Olivier Assayas—the American Cinematheque presents a double feature of Assayas’ 1996 cult film IRMA VEP and a 35mm presentation of his 2008 masterpiece SUMMER HOURS. Both screen on Thursday.

NON-FICTION will screen the following night.

IRMA VEP and SUMMER HOURS

Thursday, May 2, at 7:30 pm.

NON-FICTION

Friday, May 3, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

From top: Maggie Cheung in Irma Vep; Jérémie Renier (left) and Olivier Assayas on set, Summer Hours; Édith Scob and Juliette Binoche in Summer Hours; Renier, Dominique Reymond, and Charles Berling in Summer Hours; Jean-Pierre Léaud (right) and Cheung in Irma Vep.