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Divorzio all'italiana [Divorce Italian Style] (Pietro Germi, 1961)
Nov
9
Ferdinando Cefalù (Mastroianni), all handsome and bored, at a table set with food and wine for one. DPs: Leonida Barboni & Carlo Di Palma.
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The White Rose [The White Rose: Jay DeFeo’s Painting Removed by Angelic Hosts] (Bruce Conner, 1967)
Nov
9
1965
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Compartiment tueurs [The Sleeping Car Murder] (Costa-Gavras, 1965)
Nov
8
Eliane Darrès (Simone Signoret) – comédienne, by herself – takes a long hard look at her table-set-for-two. DP: Jean Tournier.
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I pugni in tasca [Fists in the Pocket] (Marco Bellocchio, 1965)
Nov
3
Alessandro (Lou Castel). DP: Alberto Marrama.
“I'm a volcano of ideas.”
– Alessandro
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Peace, little girl [Daisy / Daisy Girl] (Sidney Myers, 1964)
Nov
3
1964
Monique Corzilius aka Monique Cozy as the Daisy Girl. DP: Drummond Drury.
“One… two… three… four… five… seven… six… six… eight… nine… nine…”
– Daisy Girl
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Zahrada [The Garden] (Jan Švankmajer, 1968)
Oct
25
Jiří Hálek and Luděk Kopřiva as Josef and Frank. DP: Svatopluk Malý.
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La donna del lago [The Lady of the Lake / The Possessed] (Luigi Bazzoni + Franco Rossellini, 1965)
Oct
25
Tilde (Virna Lisi) caressing a man's hand, resting on her shoulder, with her cheek. DP: Leonida Barboni.
Until November 20.
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Banditi a Milano [The Violent Four] (Carlo Lizzani, 1968)
Oct
22
Two of the four bandits, Pietro 'Piero' Cavallero (Gian Maria Volontè) and Sante Notarnicola (Don Backy), surrounded by press and Carabinieri. DPs: Giuseppe Ruzzolini & Otello Spila.
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La sixième face du pentagone [The Sixth Face of the Pentagon] (Chris Marker + François Reichenbach, 1968)
Oct
21
1967
Armed police seen from the back. In front of him someone holds up a sign that reads WHY WAR. DPs: Tony Daval, Chris Marker & Christian Odasso.
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Le mystère Koumiko [不思議なクミコ / The Koumiko Mystery] (Chris Marker, 1965)
Oct
11
1964
A closeup of Koumiko's face, taken from a television screen. DP: Chris Marker.
“Mr. Everyman explains how to look like a Japanese and thus impress those wild and not very civilized people. Mrs. Everyman replies that for savages, they look remarkably civilized. Meanwhile, Mr. Everyman, seeing more people looking even more Japanese, is reassured. Mrs. Everyman sees soldiers parading in European uniform. She smiles ironically. But now a number of typical Japanese walk into the house. Her irony disappears. And Mr. Everyman is not ashamed to admit… he is mystified.”
– narrator
