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All Power to the Imagination! 1968 and Its Legacies

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All Power to the Imagination! 1968 and Its Legacies ALL POWER TO THE IMA GINATION! 1968 AND It’s leGA A Season in London CIES. Programme 11 April – 10 June 2008 v1: 25 March 2008: page © Joseph Koudelka/ Magnum Photos: CZECHOSLO © Joseph W arsaw Pact troops invade Prague. In front of the R Prague. troops invade arsaw Pact VAKIA. Prague. August 1968. August 1968. Prague. VAKIA. adio Headquarters. ALL POWER TO THE IMAGINATION! 1968 AND ITS LEGACIES supported by marks the creative resistance of a remarkable year, while placing its lessons in the context of our own times. From April to June and across London, and in media partnership with this major season explores 1968 culture, politics and thought and their legacy manifestations in cinema, visual art, literature, music and activism. www.968.org.uk ALL POWER TO THE IMAGINATION! 1968 AND It’s leGACIES. Programme v1: 25 March 2008: page CINEMA ’68 More dynamically than perhaps any other medium, cinema caught the groundswell, moment and aftermath of 1968 across the world. The numerous strands here display the remarkable 18 APRIL Friday 21 APRIL Monday imagination and commitment of global film-makers, 6.10, BFI Southbank: Les Idoles 6.10, BFI Southbank: Under the whether it’s Censorship as a Creative Force in Central Europe Marc’O, France, 1968, 105 mins. This Skin of the City Rakhshan Bani- (Barbican), Cult, Radical and Underground Americana satire of the yé-yé scene mixed real- Etemad, Iran, 2000, 92 mins. Set during (Barbican, Curzon Cinemas, Horse Hospital), the definitive life French pop stars with actors on the 1998 elections, and weaving the fringe of the situationists and the complex contemporary issues into French experiences (BFI Southbank, Ciné Lumière, Tate political events of ‘68. The society of a family drama, the film was a huge Modern) or the specific – and tragic – realities of Poland the spectacle is deconstructed with success in Tehran. + Centralisation and Prague (Ciné Lumière). The British incarnation is also mod style and no small amount of Rakhshan Bani-Etemad, Iran, 1987, 35 mins. considered (Curzon Cinemas), alongside the pioneering flash. 6.20, BFI Southbank: La Feminist cinema of Germany’s Helke Sander (Goethe Institute), 6.40 BFI Southbank: To Whom Will Collectionneuse – see 11 April the equally engaged oeuvre of Iran’s leading woman film- You Show These Films Anyway? above. maker Rakhshan Bani Etemad (BFI Southbank) and three days Rakhshan Bani-Etemad, Iran, 1993, 90 8.45, BFI Southbank: Our Times mins. The last in a documentary Rakhshan Bani-Etemad, Iran, 2002, 75 mins. of special themed explorations at Birkbeck College’s brand trilogy on the Tehran neighbourhood new cinema. This two-part documentary firstly of Fatemiyyeh where could be follows teenagers who established All films will be shown with English subtitles where relevant. found, in extremis, the devastating campaign headquarters for a liberal consequences of rapid urbanisation mullah. In the second, she films and poverty. 11 APRIL Friday 14 APRIL Monday some of the 48 women who stood in 7.00 Rich Mix: East End FF: Import the Presidential election. 6.10, BFI Southbank: Off-Limits 6.10, BFI Southbank: Mainline Export Ulrich Seidl, Austria, 2007, 135 23 APRIL Wednesday Rakhshan Bani-Etemad, Iran, 1986, 96 Rakhshan Bani-Etemad, Iran, 2006, 78 mins. mins. Seidl’s often harrowing drama mins. Bani-Etemad’s first fiction film The playing of Bani-Etemad’s on the pressures to survive under 6.20, BFI Southbank: Gilaneh is a fine addition to the genre of daughter, Baran Kosari, as an addict capitalism + panel discussion Rakhshan Bani-Etemad, Iran, 2005, 84 satiric portraits of bureaucracies and is phenomenal. on New European cinema mins. Bani-Etemad is the first woman bureaucrats. (the festival strand East Meets director to confront the Iran-Iraq war, + Under the City’s Skin Rakhshan 8.40, BFI Southbank: La East includes new features from and mothers and children inform her Bani-Etemad, Iran, 1996, 35 mins. Collectionneuse Eric Rohmer, France, across Central Europe). www. approach. 1966, 90 mins. One lesson of the fourth 8.30, BFI Southbank: Rakhshan eastendfilmfestival.com 8.50, BFI Southbank: Mainline - see ‘moral tale’, Rohmer’s most erotically Bani-Etemad in Conversation 19 APRIL Saturday 14 April above. – the great Iranian director in charged, is that the problems of 24 APRIL Thursday individuals are as important as person. 1.30, BFI Southbank: Goodbye Uncle Tom Gualtiero Jacopetti and those of the state, a line that led 15 APRIL Tuesday 6.00, BFI Southbank: Weekend – see the Cahiers group to reject him as a Franco Prosperi, Italy, 1971, 126 mins. 20 April above. 6.00, BFI Southbank: Nargess – See Mondo pseudo documentary reactionary. 8.15, BFI Southbank: The May Lady 13 April above. imagining slavery in the US and its 12 APRIL Saturday - See 19 April above. 16 APRIL Wednesday 20th century legacy. Introduced by 3.50, BFI Southbank: Foreign Mark Goodall. 25 APRIL Friday 6.20, BFI Southbank: Canary Currency Rakhshan Bani-Etemad, Iran, 3.50, BFI Southbank: The May Lady 6.30, BFI Southbank: Trans-Europ 1989, 90 mins. A satirical look at Iran’s Yellow Rakhshan Bani-Etemad, Iran, 1986, 100 mins. Bani-Etemad’s concern Rakhshan Bani-Etemad, Iran, 1998, 88 mins. Express – see 20 April above. rampant inflation and fixation with Bani-Etemad’s most poetic film has foreign currency. with the effects of migration from 7.00, Barbican: Censorship as a the countryside to the cities (but Forough, an attractive divorcee and Creative Force? ScreenTalk with 8.30, BFI Southbank: Alphaville particularly Tehran), first realised in documentary film-maker, working three Oscar-winning directors: Jean- Luc Godard, France, 1965, 98 a 1985 documentary, here turns to on a film about ideal motherhood. Andrzej Wajda, Istvan Szabo, Jiri mins. Godard’s homage to pop art comedy. + The Last Meeting with Iran Menzel and Peter Hames + Escape and pulp fiction makes for one of Daftari Rakhshan Bani-Etemad, Iran, from the ‘Liberty’ Cinema cinema’s great urban dystopias. 6.30, BFI Southbank: Un Homme 1995, 55 mins. et une Femme Claude Lelouch, Wojciech Marczewski, Poland 1991, 92 13 APRIL Sunday France, 1966, 102 mins. Lelouch’s 6.40, BFI Southbank: Foreign mins. This fantasy comedy by Polish master Marczewski is set just before 3.45, Nargess Academy Award-winner is almost Currency – See 12 April above. BFI Southbank: the collapse of Poland’s communist Rakhshan Bani-Etemad, Iran, 1992, 100 overpowered by Michel Legrand’s 19 APRIL Saturday (continued) regime and stars Janusz Gajosa as a mins breathily beautiful score. The first of what became, with 8.40, BFI Southbank: La Piscine tired and lonely provincial censor. The Blue-Veiled and The May Lady, 8.45, BFI Southbank: The Bride Jacques Deray, France Italy, 1968, 120 7.00, Ciné Lumière: Conversation a daring, complex and transgressive Wore Black François Truffaut, France, mins. Jean Paul (Alain Delon) and with Pedro Costa + 8.30: Colossal trilogy of films investigating the 1967, 107 mins. Five men make a young Marianne’s (Romy Schneider) Youth Pedro Costa, Portugal/France, charged issue of parents, children bride (Jeanne Moreau) a widow on Riviera holiday is disrupted by the 2008 (New Release), 155 mins. (Also and sexuality. her wedding day. She contemplates unexpected arrival of Harry (Maurice Sat 26: 5.45 & 8.30 / Sun 27: 4.00 + Baran and the Native Rakhshan suicide but instead plans to take Ronet) – her ex-lover and his ex-best & 7.00 / Tue 29: 7.30 / Wed 30: 7.30). Bani-Etemad, Iran, 1999, 20 mins. revenge by methodically killing each friend – and his provocative young Costa has created a unique filmic 6.00 Pas of the murderers. daughter (Jane Birkin). , South London Gallery: hybrid of documentary observation d’histoires 109 mins . Films by 17 APRIL Thursday 20 APRIL Sunday and fictional re-enactment. A rare French or Paris-based film-makers opportunity to experience the and artists of different generations 8.30, BFI Southbank: The Blue- 4.00, BFI Southbank: The Blue- Veiled Rakhshan Bani-Etemad, Iran, Veiled - See 17 April above. austere power of the medium’s working with documentary; includes politicized successor to Robert + Talk 1994, 87 mins. Rasul is an elderly, Rouch, Godard, Parreno. 6.15, BFI Southbank: Trans-Europ Bresson and Jean-Marie Straub. by Pablo Lafuente on Jacques lonely widower. On his tomato Express Alain Robbe-Grillet, France Rancière’s aesthetic and political farm is a new arrival, Nobar. His Belgium, 1968, 93 mins. The ambiguity 8.40, BFI Southbank: Canary theory + panel discussion with initial humanitarian impulses of Robbe-Grillet’s surreal but playful Yellow – See 16 April above. film-makers. gradually turn into a father-daughter story anticipates the evershifting relationship which in turn becomes grey areas of ’68. 6.20, BFI Southbank: Masculin sexual. Féminin Jean-Luc Godard, France 8.45, BFI Southbank: Weekend 8.45, Off-Limits Sweden, 1966, 110 mins. Young idealist BFI Southbank: Jean Luc Godard, France, 1967, 105 Paul (Jean Pierre Léaud) is a leftie – See 11 April above. mins. Famed for its virtuoso who ends up dating aspiring yé-yé cinematography - including a singer Madeleine (Chantal Goya). stunning ten minute tracking shot As Godard says, “This film could - Godard’s dystopian road movie is a be called The Children of Marx and ferocious attack on consumerism. Coca-Cola.” 8.45, BFI Southbank: Alphaville – see 12 April above. ALL POWER TO THE IMAGINATION! 1968 AND It’s leGACIES. Programme v1: 25 March 2008: page 27 APRIL Sunday 2 MAY Friday 4 MAY Sunday CINEMA ’68 CONTINUED... 4.15, BFI Southbank: Les Idoles 6.15, Ciné Lumière: Before the 12pm, Renoir: Soy Cuba Mikhail 26 APRIL Saturday - see 18 April above.
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