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May 11
Avec l'Auteur : Olivier Bodart Online Event (in French) Alliance Française de Chicago
May 11
The Art of Losing by Alice Zeniter ONLINE EVENT Albertine Bookshop 972 FIFTH AVENUE NEW YORK, NY 10075
May 11
The Art of Losing by Alice Zeniter ONLINE EVENT Albertine Bookshop 972 FIFTH AVENUE NEW YORK, NY 10075

Eric Rohmer's Moral Tales at Zebulon & Cinefamily

The Bakery Girl of Monceau and Suzanne’s Career 
Thursday, July 6th, 2017 AT ZEBULON

The Bakery Girl of Monceau - A frustrated romantic of a law student is torn between Sylvie, a spectral art gallery assistant, and Jacqueline, a coarse bakery shopgirl. Rohmer finds ethereal, universal themes of lust within a few square blocks – summoning the power of cinema to render the everyday bustle of Paris a staging ground for an obsessive drama. The first Moral Tale is pure Nouvelle Vague: shot guerilla-style on 16mm in the back alleys of the 8th arrondissement, delectably local, and featuring narration by fellow film titan Bertrand Tavernier. Dir. Éric Rohmer, 1963, digital presentation, 23 min.

Suzanne’s Career - Rohmer has a gift for spotlighting idiosyncratic behavior – the unpracticed snowflake-qualities of real people that are usually lost on-screen, beneath layers of dramatic training and self-awareness. In the Moral Tales’ second episode, Rohmer develops his effortless blend of a novelist’s diary-style storytelling with naturalistic, acutely observed, and often contradictory human behavior. The result is raw and funny, tripping loosely around the lives of middle-class college students in a vivid time capsule of Paris’s Latin Quarter in the early ’60s. The young unknowns who fill out Suzanne’s Careerreally seem like college freshmen; babies in grown-up bodies opting for ill-conceived romances and failing their classes with the charming self-absorption of teenagers. Dir. Éric Rohmer 1963, digital presentation, 54 min.


Thursday, July 6th, 2017
Show at 8pm / Doors open at 7pm

2478 Fletcher Dr
Los Angeles, CA 90039

After party with DJs Mark Wright and Jessica Hardy from Décadanse Soirée!



Moral Tales screening at CINEFAMILY

La Collectionneuse - Saturday, July 8th at 5pm

Witty, philosophical, erotic, and true to life, La Collectionneuse is like a dream-vision of the summer vacation in the south of France you never had. As contradictory, sensual, and sardonic as its languid heroes, the third installment in Éric Rohmer’s Moral Tales throws a spotlight on small moments of romantic caprice or boredom, and practically heralds the new, bohemian style of dandyism as it emerged in the ’60s: voluntary unemployment, casual sex, avant-garde philosophy, pop music, and comic books. As he staged these gorgeous Côte d’Azur-set scenes, Rohmer obsessed himself with authenticity: visual artist Daniel Pommereulle plays himself and co-wrote the dialogue with the other two leads, and the filmmaker himself called around for collectors of insect noises to find the right species for Saint-Tropez in June. Dir. Éric Rohmer, 1967, DCP, 89 min.



My Night at Maud’s - Saturday, July 15th at 5pm  

With a DJ set by Jim Smith from The Smell!

My Night at Maud’s is one of those movies with truly great dialogue – the kind of late-night heart-to-hearting and waxing philosophical that you recognize more from life than from other movies. Deep-dives that wantonly break the “sex/politics/religion” rule and life-like skirmishes played out awkwardly via unspoken social cues will make you laugh or wince with recognition. Rohmer remains obsessively devoted to wrapping reality up in fiction, casting a Marxist to play a Marxist and intertwining his protagonist’s romantic troubles with the writings of mathematician-philosopher Blaise Pascal. If that sounds pretentious and unromantic, Rohmer knows it – his specialty is in vain male heroes bumbling through tangled webs of self-deception. With the fourth Moral Tale, the formula finally won him a breakout success, garnering praise at Cannes and even penetrating mainstream theaters in the U.S., where Rohmer landed his only Oscar nomination. It introduced Rohmer to America as the New Wave’s most understated master – novelistic, quietly satirical and a keen observer of the subtle beauty and absurdity of human behavior. Dir. Éric Rohmer, 1969, 35mm, 110 min.


Claire's Knee - Saturday, July 22nd at 5pm


Arguably Rohmer’s masterpiece, the fifth installment of his Moral Tales sextuplet, Claire’s Knee, traces the lustful pangs of Jérôme, a diplomat stationed at Lake Annecy in Western France, as he encounters and muses with Aurora, a wizened novelist, and two teenage girls. Unfolding in a novelistic, stream-of-consciousness style across July 1970, Claire’s Knee achieves as close to pure heartbeat-editing as ever attempted in French cinema. The moody photography (Rohmer’s second film in color) is utterly entrancing; the performances deftly subtle; the drama purely human. Canby placed the film within the company of Intolerance, Rear Window, and My Darling Clementine – works that not only attest to the power of the cinematic form, but could only exist because of it. Dir. Éric Rohmer, 1970, 35mm, 105 min.


Love in the Afternoon

Love in the Afternoon

Love in the Afternoon

Love in the Afternoon - Saturday, July 29th at 5pm

With a DJ set by Jim Smith from The Smell!
“I dream of a life comprised of first loves and last loves…” muses Bernard Verley’s satiated Parisian lawyer in Rohmer’s final moral tale – at once the funniest, most probing, and arguably greatest of the series. Verley assures us, of course, that his wandering eye is purely part of his escapist routine, much like his beloved novels: fancies and fancies alone, that ultimately affirm his fidelity. That is, until his will is tested by après-midi encounters with Chloé, played by the iconic model and socialite Zouzou, whose free-wheeling, laissez-faire lifestyle offers an escape hatch from his comfortable bourgeois existence. Rohmer and his trusted cinematographer Nestor Almendros (Days of Heaven, frequent Truffaut collaborator) working at the height of their powers, marry refined classicism with the post-nouvelle vague’s loose naturalism – a collection of stolen moments and cinematic reveries, like the story itself. After years of investigating the nature of male lust, Rohmer reaches a mature peace with monogamy in the film’s climax: that though we can’t stop ourselves from wanting what we don’t need, we may be surprised at how much we need what we don’t want. Dir. Éric Rohmer, 1972, 35mm, 97 min

611 N. Fairfax
Los Angeles, CA 90036