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The Beautiful Lurette

The beautiful and charming laundress Lurette is a well sought-after young woman in Ludwig XV’s Paris. Her heart is already taken, however, and she makes elaborate plans during Carnival to obtain the man she truly loves, the carpenter Campistrel. During her plans to make Campistrel jealous and recognize his love for her, she meets the Duke of Marly, who plans to make her his mistress. The unsuspecting Lurette finds herself caught in a love triangle, and her peer, Marcelline, must save the beautiful Lurette from these scandalous schemes.

The Beautiful Lurette

7.0 1960
Emile's Boat

Charles-Edmond, the eldest of the Larmentiel brothers, decides to return to La Rochelle, his hometown to die there. Forty years earlier he had been driven out by his father. Before passing away, the old eccentric announces that he has a hidden son, Émile, a fisherman to whom he wishes to bequeath his property. François, the younger brother, whom Charles-Edmond hates, is eyeing the inheritance to bail out the powerful family business, a veritable fishing trust, and will try to appropriate the affection and property of this inopportune heir. Émile, meanwhile, is too busy arguing with Fernande, a beugland singer, to suspect what awaits him...

Emile's Boat

6.6 1962
Circles

The geometry of circles and ellipses is explored using the Roman Colosseum as an example. Using the Pantheon as another practical example, this program explores the concepts of central and intercepted angles, arc segments and chords. The Etude du Cinéma de l’Ecole de Barcelona (a short-lived group that appeared in Spain in the 1960s) offers the opportunity to consider the distrust of the avant-gardes with regard to narrative. The lacunar narration whose principle the School of Barcelona adopts goes against the traditional narrative and its quest for coherence and continuity. She invites the viewer to make the disconcerting experience of unbinding and emptiness. Such an approach involves an ethical posture. The Barcelona School follows in the footsteps of a modernity that intends to move away from an alienating authoritarian discourse and claims to make the spectator a partner in creation.

Circles

8.5 1966
¡Hola, muchacho!

Juan is a veteran workshop instructor with no formal education, but a lifetime of practical experience working on aircraft engines alongside engineers. His company sends him from Madrid to train at the Universidad Laboral in Córdoba. There, the master craftsman takes a young student under his wing. Disheartened by how poorly his first exams went, he considers giving up. But Juan advises him not to and helps him in every way he can. The two become friends, but one day the young man discovers the real reason behind Juan’s interest.

¡Hola, muchacho!

10.0 1961
Tonite Let's All Make Love in London

Peter Whitehead’s disjointed Swinging London documentary, subtitled “A Pop Concerto,” comprises a number of different “movements,” each depicting a different theme underscored by music: A early version of Pink Floyd’s “Interstellar Overdrive” plays behind some arty nightclub scenes, while Chris Farlowe’s rendition of the Rolling Stones’ “Out of Time” accompanies a young woman’s description of London nightlife and the vacuousness of her own existence. In another segment, the Marquess of Kensington (Robert Wace) croons the nostalgic “Changing of the Guard” to shots of Buckingham Palace’s changing of the guard, and recording act Vashti are seen at work in the studio. Sandwiched between are clips of Mick Jagger (discussing revolution), Andrew Loog Oldham (discussing his future) – and Julie Christie, Michael Caine, Lee Marvin, and novelist Edna O’Brien (each discussing sex). The best part is footage of the riot that interrupted the Stones’ 1966 Royal Albert Hall concert.

Tonite Let's All Make Love in London

4.5 1967
Of Special Merit

An attack on a piece of reactionary German legislation discriminating against young film directors. The film features a head-on, close-up shot of a penis ‘mouthing’ the parliamentary defense of the law by its author. A landmark in political pamphleteering, the film was selected for the 1968 Oberhausen International Short Film Festival by a committee of leading German critics and promptly banned by the city government, causing the withdrawal of almost all German directors from the festival and a national scandal. The title satirically refers to the official certificate of ‘Particularly Valuable’ given each year to the best film shorts by an Establishment selection.

Of Special Merit

4.0 1968
Clouds

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

Clouds

NR 1969
Make Mine Mink

In a mansion block in Knightsbridge, a gang of middle-aged biddies decide to brighten up "the dullness of the tea time of life" by staging a series of robberies on furriers, then donating the proceeds to charitable concerns. Terry Thomas as a retired army officer leads the gang, which includes Athene Seyler and Hattie Jacques, on a series of capers that nearly go awry when their maid, Billie Whitelaw, an ex-con and also a resident of the block, falls for a police officer.

Make Mine Mink

6.9 1960
The Man with the Glass Eye

A man is found dead in a London hotel. The knife is still firmly stuck in the victim's chest, and Inspector Perkins strangely finds a glass eye in his jacket pocket. Kurt after that a second, mysterious murder happens: A city-famous dancer of the Las Vegas Girls, who perform at the London Odeon Theater, is poisoned. Is there a connection between the pretty dancer and the hotel guest? Inspector Perkins and his colleagues are pressed for time. The "man with the glass eye" strikes deadly again and again. A first clue leads Scotland Yard to a billiard club, where one has to show a glass eye as an admission ticket.

The Man with the Glass Eye

5.7 1969
The Moon by Our Teeth

The film follows William, thirty-ish, out of work and looking for a new life after apparently having been thrown out of his previous one. He meets up with Noelle, who seems intrigued by his restlessness - until her economist boyfriend shows up. Yet plot details do little to convey the power of the film, which lay in its capturing the anarchic texture of William's life - a life whose lack of direction was read as a rebuke of the Swiss myth of orderliness and self-satisfaction. With his roots in documentary, Soutter excelled at creating a loose, vibrant cinema, full of quick zooms and dynamic hand-held shots, with dialogue that often alternated between outright quotations and stylized interviews.

The Moon by Our Teeth

7.8 1967
The False Step

During a walk along the cliffs not far from Marseille, Elisa Langerot sees her husband slip and fall to his death. Inexplicably, Elisa flees the scene of the accident, stops a passing driver and tells him a made-up story about a stolen car, concealing her husband's death. Feeling sorry for the girl, the driver, Philippe Morçot, gives her a lift and later lets her stay at his house. The good deed, however, doesn't go unpunished, and soon Philippe is drawn into Elisa's twilight world of fantasies, lies and paranoia.

The False Step

5.7 1965