03.07.2019 > 13.08.2019
Sun Screens will be an opportunity to spark your curiosity. Alongside our regular programming, we have decided to offer a series of unreleased titles. The first two, with their sharp aesthetic, flirt with genre cinema: one will plunge you into a stifling summer heat that seems to numb the teenagers of a Brazilian suburb plagued by a serial killer (MATE ME POR FAVOR by Anita Rocha da Silveira), while the other will confront you with the disturbing behavior of gifted young students who seem to literally hypnotize their substitute teacher (L’HEURE DE LA SORTIE by Sébastien Marnier). Two stunning films that echo each other in surprising ways.
No less unsettling, GOD EXISTS, HER NAME IS PETRUNYA by Teona Strugar Mitevska is a black comedy filled with delightful scenes that paints a portrait of an ordinary woman in her thirties and an outdated patriarchal society. A sharp and biting film—feminist and human. Another portrait is the sensitive story of Leo, a young sex worker in search of love and self-discovery, brought to life by Félix Maritaud, who seems captured raw and exposed by Camille Vidal-Naquet (SAUVAGE).
Sun Screens will also offer the chance to (re)discover great classics (in 4K restored prints) in the best possible conditions. We are thrilled to revive the iconic trio of Marilyn Monroe, Tony Curtis, and Jack Lemmon directed by Billy Wilder in SOME LIKE IT HOT (1959). Often considered the quintessential comedy, the film shook up morality and conventions at the end of the 1950s. A sense of propriety that was also challenged by Joseph L. Mankiewicz in SUDDENLY, LAST SUMMER (1959), the adaptation of Tennessee Williams’ one-act play starring Katharine Hepburn and Elizabeth Taylor. Finally, before embarking on a journey to planet Solaris through the lens of Andrei Tarkovsky (SOLARIS, 1972), established codes will shatter at the heart of Dennis Hopper’s EASY RIDER (1969).
In parallel with this invitation to discovery, we are delighted to present Agnès Varda’s latest documentary, VARDA BY AGNÈS (2019), in which the filmmaker journeys through her filmography, sharing her story and, in doing so, telling us another history of Cinema. The invitation was too wonderful not to re-release three of her narrative feature films. We are particularly excited to screen the restored prints of CLEO FROM 5 TO 7 (1961), ONE SINGS, THE OTHER DOESN’T (1977), and the underappreciated LE BONHEUR (1965). Three titles whose modernity and timeless character will speak to everyone.
Nicolas Gilson, film programmer at Palace.