BUY TICKETS AT FILMLINC.ORG Rendez-Vous with OPENING French Cinema returns NIGHT in its 23rd edition to remind viewers that there’s nothing like French cinema. Emerging talents and established masters U.S. PREMIERE alike are highlighted BARBARA in this selection, which Directed by , 2017, 98m is as full of surprises The legendary chanteuse known only as always, from as Barbara, gifted with a tremulously expressive voice and striking stage unconventional biopics presence, is an enduring icon of French culture. In this tantalizing tribute from to tales of families on actor-director Mathieu Amalric, a transfix- the edge. Co-presented ing, chameleon-like stars as Brigitte, a film actress cast in a biopic with UniFrance, Rendez- about the singer. This conceit yields, à la Cassavetes’ Opening Night, a mesmer- Vous demonstrates that izing meta-cinematic high-wire act about French cinema is vast the slippery nature of performance and identity as Balibar’s Barbara merges with and inspiring as ever. footage of the real-life diva until the two become virtually indistinguishable. The Artistic Direction: Florence Almozini result is both a captivating experiment and and Dennis Lim a love letter to a singular artist. Nominated for nine César Awards, including Best Film, All films are subtitled. Director, Actress, Cinematography, and Original Screenplay.

Thursday, March 8 6:30pm & 9:00pm Introductions by Mathieu Amalric and Jeanne Balibar 12 DAYS (12 JOURS) AVA Directed by Raymond Depardon Directed by Léa Mysius France, 2017, 87m France, 2017, 105m Continuing a 30-year collaboration with The bold, bracingly original debut feature sound recordist and producer Claudine from Léa Mysius is a coming-of-age tale Nougaret, renowned photographer and unlike any other. While on summer vaca- documentarian Raymond Depardon has tion on the crystal blue coast, tempestu- made a startling, face-to-face look at men- ous 13-year-old Ava (Noée Abita) learns tal illness and the French legal system. she is quickly going blind. It’s a revelation According to the law, anyone admitted to that leads to a breathtaking turn of events, a psychiatric hospital against their will must as the newly emboldened Ava turns her be evaluated by a judge within twelve back on her single mother (, days to determine whether they are fit to nominated for a Best Supporting Actress be released or must continue treatment. César Award) in favor of the outlaw teen With disarming, fly-on-the-wall immediacy, Juan (Juan Cano) and the wild freedom Depardon brings the viewer into the room of the road. Dazzling 35mm cinematogra- for these charged encounters, which are by phy—with sun-splashed beach images by turns heartrending, unnerving, and deeply day and rich, inky blacks by night—evokes humanizing. Crucially, Depardon and his the increasingly dark world of a girl taking impassive, vérité camera refuse to pass in as much of life as she can, while she can. judgment, letting the subjects—among society’s most vulnerable and marginal- Sunday, March 11 8:30pm ized—speak for themselves. Nominated Friday, March 16 9:15pm for a Best Documentary César Award. A Distrib Films release.

Thursday, March 15 6:30pm Q&A with Raymond Depardon and Claudine Nougaret FOR TICKETS VISIT FILMLINC.ORG BEFORE SUMMER ENDS U.S. PREMIERE (AVANT LA FIN DE L’ÉTÉ) C’EST LA VIE! Directed by Maryam Goormaghtigh (LE SENS DE LA FÊTE) France/Switzerland, 2017, 80m Directed by Olivier Nakache & Thirty-something Iranian friends Arash, Éric Toledano Hossein, and Ashkan embark on a late France/Canada/Belgium, 2017, 117m summer road trip through the sunny Nominated for 10 Césars, including Best South before Arash heads back to Iran. Film, this deliciously deadpan comic souf- The three camp under the stars as they flé from the directors ofThe Intouchables guzzle beers, join up with a rock ‘n’ roll concerns the behind-the-scenes plan- girl duo, and reflect on the cultural differ- ning of an elaborate wedding. Max (Jean- ences between their home and adopted Pierre Bacri) is a veteran event coordinator countries. With a wry, improvisatory sense who thinks he’s seen it all—until he must of humor and spare but striking compo- pull off a spectacular wedding at an sitions, director Maryam Goormaghtigh 18th-century chateau (complete with crafts an endearing and perceptive waitstaff in powdered wigs). Between semi-documentary travelogue that speaks an epic catering mishap, an egomaniac to both the challenges and freedoms that groomsman, and a photographer who’s come with being an outsider in a foreign more interested in his Tinder matches country. Bonus: a hilarious language les- than in taking pictures, it’s sure to be a son on the various Iranian terms for farts. night to remember… Like Altman with a featherlight, Gallic touch, C’est la vie! Saturday, March 17 1:00pm expertly juggles a sparkling ensemble cast including Vincent Macaigne, Gilles Lellouche, and Suzanne Clement.

Saturday, March 10 9:30pm Sunday, March 18 7:45pm RENDEZ-VOUS WITH FRENCH CINEMA NORTH AMERICAN PREMIERE CUSTODY COMFORT AND (JUSQU’À LA GARDE) CONSOLATION IN FRANCE Directed by Xavier Legrand (POUR LE RÉCONFORT) France, 2017, 93m Directed by Vincent Macaigne Winner of the Silver Lion at the Venice Film France, 2017, 91m Festival, this riveting domestic drama is a After squandering their inheritance while harrowing study of a family coming undone. living la vie de bohème abroad, siblings When his parents separate, a bitter cus- Pascal (Pascal Rénéric) and Pauline tody battle results in 11-year-old Julien (a (Pauline Lorillard)—scions of an old money, heartrendingly naturalistic Thomas Gioria) aristocratic family—return to their ancestral being shuttled between his fearful mother estate and their childhood friends in the (Léa Drucker) and abusive father (Denis Loire Valley. Awaiting them is a tidal wave Ménochet), who uses the boy as a pawn of pent-up resentment as their presence to manipulate his ex-wife—a volatile situa- unleashes the ire of all those in their orbit, tion that pushes everyone to the breaking in particular a bitter, virulently anti-bour- point. Expanding on his Oscar-nominated geois nursing home manager who will stop short Just Before Losing Everything, direc- at nothing to see the pair humiliated. One tor Xavier Legrand displays a distinctive of France’s most distinctive rising talents, touch that imbues each frame with quiver- Macaigne pulls no punches in this daringly ing tension. A Kino Lorber release. iconoclastic tale of the clash between the haves and have-nots and the struggle for Sunday, March 11 3:00pm the soul of Europe. Q&A with Xavier Legrand

Wednesday, March 14 8:45pm Q&A with Vincent Macaigne

Sunday, March 18 1:00pm

FOR TICKETS VISIT FILMLINC.ORG U.S. PREMIERE U.S. PREMIERE ENDANGERED SPECIES THE GUARDIANS (ESPÈCES MENACÉES) (LES GARDIENNES) Directed by Gilles Bourdos Directed by Xavier Beauvois France/Belgium, 2017, 105m Switzerland/France, 2017, 138m Drawing from Richard Bausch’s short sto- A quietly affecting human drama of love, ries, Gilles Bourdos delivers an explosive loss, and resilience unfolds against the emotional epic about the tangled relation- backdrop of World War I in the new film ships among parents, children, husbands, from Of Gods and Men director Xavier wives, and lovers. At the heart of this Beauvois. France, 1916: due to a short- multi-strand ensemble piece is Josephine, age of men, teenage orphan Francine a young newlywed fearfully taking first (Iris Bry) is hired to work on the farm of steps to escape her abusive, possessive the hardened Hortense () husband. Swirling about her are turbulent and her loitering daughter Solange lives in various stages of free-fall, from a (Laura Smet). When a romance forms lonely student caring for his mentally ill between Francine and Hortense’s son mother to a middle-aged father starting Georges (Cyril Descours), a soldier on over after a divorce. Masterful crosscutting leave, their love is tested by war and the creates a charged sense of anticipation, complex social fabric of the community. while regular Hou Hsiao-hsien cinema- Composed in painterly images bathed tographer Mark Lee Ping-bing contributes in natural light by Caroline Champetier, dynamic, color-saturated compositions. this intimate epic traces the journey of a young woman weathering turbulent Sunday, March 11 5:30pm times—and refusing to be defeated. A Q&A with Gilles Bourdos and Music Box Films release. Richard Bausch

Thursday, March 15 1:30pm Friday, March 16 6:00pm Q&A with Xavier Beauvois RENDEZ-VOUS WITH FRENCH CINEMA JEANNETTE, THE CHILDHOOD NORTH AMERICAN PREMIERE OF JOAN OF ARC JULY TALES Directed by Bruno Dumont (CONTES DE JUILLET) France, 2017, 105m Directed by Guillaume Brac The ever-unpredictable Bruno Dumont France, 2017, 68m (Slack Bay) takes another thrilling hairpin Two languorous summer days, two thorny turn with this audacious, 15th-century-set tales of romantic misunderstanding: in heavy-metal musical composed by Igorrr part one, two girlfriends (Milena Csergo (aka Gautier Serre). It’s 1425, and 8-year- and Lucie Grunstein) head to the Cergy old shepherdess Jeannette—the future leisure park for a day of swimming and Joan of Arc—already has the weight of equally vigorous flirtation; in the second, the French nation on her shoulders as a Norwegian exchange student (Hanne she grapples with matters of the soul, the Mathisen Haga) finds herself the target ongoing Hundred Years’ War, and the feel- of unwanted attention from two would-be ing that she is meant for something great. suitors. Channeling the spirits of Éric Along the way there are head-banging Rohmer and Jacques Rozier in its sunny nuns, surreal angelic visions, and a cav- summer setting and concern with the alcade of hard-stomping electro-rock erotic entanglements of the young and song and dance numbers recorded live idle, this deceptively breezy diptych is, on on location. The result is an ecstatically the surface, a charming diversion. Look a unique and transportive experience that bit closer and you’ll find an incisive study is, at heart, the story of a young heroine of the ever-complicated relationships realizing her destiny. A KimStim release. between men and women.

Friday, March 9 6:30pm Friday, March 9 2:15pm Q&A with Bruno Dumont Monday, March 12 9:30pm Thursday, March 13 4:15pm

FOR TICKETS VISIT FILMLINC.ORG JUST TO BE SURE NORTH AMERICAN PREMIERE (ÔTEZ-MOI D’UN DOUTE) THE LION SLEEPS TONIGHT Directed by Carine Tardieu (LE LION EST MORT CE SOIR) France/Belgium, 2017, 100m Directed by Nobuhiro Suwa Family ties don’t get much more compli- France/Japan, 2017, 103m cated than the ones in this witty, winning Living legend Jean-Pierre Léaud stars in seriocomic charmer. Erwan (François this playfully self-reflexive ghost story, Damiens) is a middle-aged bomb dis- which functions as a consideration of posal expert who finds himself facing cinema, mortality, and the actor’s own a different kind of explosive situation status as an emblem of film history. He when he learns that the man who raised plays Jean, an aging movie actor who, him is not, in fact, his biological father— as he prepares to shoot a death scene, and that the woman (Cécile de France) finds himself visited by the spirit of a he is seeing may in fact be his half-sister. dead, long-ago lover (Pauline Etienne). What sounds like the makings of a Greek Meanwhile, he has visitors of another tragedy plays out with sparkling élan kind: a band of children who cast him thanks to the clever script and sharply in the DIY haunted house movie they drawn characters—flawed, flesh-and- are making. Director Nobuhiro Suwa blood people fumbling their way through channels the spirit of Rivette as he spins extraordinary circumstances. a wonderfully loose-limbed tale that delights in the infinite possibilities of Sunday, March 18 3:00pm filmmaking. Plus: the gratifying sight of Léaud chucking apples at a gaggle of pesky youngsters.

Friday, March 9 4:00pm Thursday, March 15 9:15pm

RENDEZ-VOUS WITH FRENCH CINEMA NORTH AMERICAN PREMIERE MONTPARNASSE BIENVENÜE A MEMOIR OF WAR (JEUNE FEMME) (LA DOULEUR) Directed by Léonor Serraille Directed by Emmanuel Finkiel France, 2017, 97m France, 2017, 127m When the toxic 10-year relationship that Marguerite Duras’s memoir—a heartrend- has defined her adult life implodes, 31-year- ing reflection on wartime grief—receives a old Paula (rising star Laetitia Dosch, nomi- haunting and hypnotic adaptation. Mélanie nated for a Best Newcomer César Award) Thierry, her face a transfixing canvas of finds herself adrift on Paris’ Left Bank. With emotion, plays the writer, a member of the no money, no job, and no idea what’s next, Resistance living in Nazi-occupied Paris. the turbulent Paula resorts to a series of Desperate for news of her husband, who desperate lies in order to keep a roof over has been arrested by the Germans, she her head. But this young woman is more enters into a high-risk game of psycholog- resilient than even she initially realizes. ical cat and mouse with a Nazi collaborator Made by an almost entirely female crew, (Benoît Magimel). But as the months wear Léonor Serraille’s debut feature—winner on without word of the man she loves, of the Camera d’Or at Cannes for best Marguerite must begin the process of first film—is a refreshingly complex por- confronting the unimaginable. Through trait of an all-too-human heroine veering subtly expressionistic images and voice- between instability and strength as she over passages of Duras’s writing, director makes a place for herself in the world. Emmanuel Finkiel evokes the inner world of one of the 20th century’s most revolu- Friday, March 9 9:30pm tionary writers. A Music Box Films release. Q&A with Léonor Serraille and composer Julie Roué 3:45pm Thursday, March 15 Monday, March 12 1:15pm Saturday, March 17 3:00pm Q&A with Emmanuel Finkiel FOR TICKETS VISIT FILMLINC.ORG U.S. PREMIERE U.S. PREMIERE NUMBER ONE ORCHESTRA CLASS (NUMÉRO UNE) (LA MÉLODIE) Directed by Directed by Rachid Hami France, 2017, 110m France, 2017, 102m An ambitious woman treads a dangerous This inspiring ode to the transformative path as she attempts to crash the cor- power of music unfolds with a refresh- porate boys’ club in this timely feminist ingly low-key naturalism. Simon (Kad drama. Emmanuelle (César nominee Merad) is a classical violinist who finds ) is a successful energy himself way out of his element when company executive tapped by a feminist he signs on to teach music to a class lobbying group to step into the soon-to- of unruly and generally apathetic mid- be-open CEO position at France’s national dle-school students on the multicultural water company—a move that would make outskirts of Paris. One exception: Arnold her the first woman to lead a major French (Renely Alfred), the sensitive son of a corporation. But first, she must navigate single mother from Côte d’Ivoire, whose a minefield of sexism, blackmail, and a passion for the violin gradually ener- smear campaign designed to squash her. gizes both his classmates and the disillu- Director Tonie Marshall (Venus Beauty sioned Simon. Empathetic without being Institute) blends twisty boardroom intrigue maudlin, Orchestra Class, which pre- with an impassioned message about the miered at the 2017 Venice International need for female solidarity in the workplace. Film Festival, is distinguished by the way it roots its uplifting teacher-student saga Saturday, March 10 6:30pm in the socioeconomic realities of immi- Q&A with Tonie Marshall grant life.

Saturday, March 17 9:15pm Wednesday, March 14 6:00pm Q&A with Rachid Hami RENDEZ-VOUS WITH FRENCH CINEMA NORTH AMERICAN PREMIERE PETIT PAYSAN A PARIS EDUCATION Directed by Hubert Charuel (MES PROVINCIALES) France, 2017, 90m Directed by Jean-Paul Civeyrac A farmer’s desperate attempts to save France, 2018, 137m his cows from a deadly epidemic yields Etienne (Andranic Manet), a serious and a surprisingly tense exercise in low-key impressionable shaggy-haired young suspense, which has been nominated for cinephile, leaves behind his steady girl- eight César Awards, including Best Film, friend (Diane Rouxel) in Lyon to study film Director, and Actor. Pierre (Swann Arlaud) in Paris. Settling into a dingy flat with a is a dedicated dairy producer whose rotating cast of roommates, he immerses worst fears are realized when one of his himself in a bohemian world of artists, cows contracts a Mad Cow-like disease. intellectuals, and fellow film geeks who If reported, there will be one outcome: excitedly share their passion for Bresson, the slaughter of the entire herd. Rather Ford, and obscure Russian directors. It’s than lose his livelihood, Pierre makes the a seemingly idyllic life of the mind—until risky decision to take matters into his own more complicated matters of the flesh, hands—and soon finds himself behaving as well as jealous creativity, intrude. with the panicked recklessness of a killer Shooting in timeless black and white and covering up his crime. Director Hubert interweaving references to philosophy, Charuel draws on his own experiences music, and cinema—from Pascal to Mahler growing up on a dairy farm to craft a vividly to Parajanov—unsung auteur Jean-Paul realistic thriller rooted in everyday life. Civeyrac conjures a bittersweet ode to the heady days of student life. Sunday, March 11 1:00pm Wednesday, March 14 4:00pm Monday, March 12 3:30pm Saturday, March 17 6:00pm Q&A with Jean-Paul Civeyrac FOR TICKETS VISIT FILMLINC.ORG SEE YOU UP THERE U.S. PREMIERE (AU REVOIR LÀ-HAUT) THE SOWER Directed by Albert Dupontel (LE SEMEUR) France/Canada, 2017, 117m Directed by Marine Francen Nominated for a whopping 13 César France/Belgium, 2017, 98m Awards, including Best Film, this stylish In the midst of Napoleon’s 1851 coup comic caper is a breathless, whimsical d’état, a remote French village is wild ride through Jazz Age Paris. After depleted of all its men, leaving only the an accident in the trenches leaves him women to tend to the fields while won- disfigured, ex–World War I infantryman dering what became of their husbands, and artist Edouard (BPM star Nahuel sons, fathers, and brothers. Into this Perez Biscayart) takes to opium and matriarchal society wanders a stranger creating outrageously stylized masks to (Alban Lenoir), his presence stirring up hide his scarred face. Along with a fellow both political suspicion and carnal desire former soldier (director Albert Dupontel), among the young women, who view him he hatches an audacious get-rich-quick as their last chance to repopulate the scheme: designing and collecting on community. Through bucolic, gold-hued war monuments, then absconding with images that recall the paintings of Jean- the money before building them. What François Millet, director Marine Francen ensues is a dizzying adventure bursting weaves a quietly provocative fable that with elaborately staged set-pieces and rewrites its historical moment from a spectacularly surreal costume design. female perspective.

Tuesday, March 13 8:45pm Saturday, March 10 3:30pm Q&A with Marine Francen Sunday, March 18 5:15pm Tuesday, March 13 2:00pm

RENDEZ-VOUS WITH FRENCH CINEMA U.S. PREMIERE PRESENTS

TOMORROW AND NORTH AMERICAN PREMIERE THEREAFTER (DEMAIN ET TOUS LES AUTRES JOURS) WAITING FOR THE Directed by Noémie Lvovsky BARBARIANS (EN ATTENDANT France, 2017, 91m LES BARBARES) Directed by Eugène Green It’s rare to see a mother-daughter portrait France, 2017, 76m as idiosyncratic and personal as the one at the heart of the new film from acclaimed Six strangers—fleeing hordes of feared actress-director Noémie Lvovsky. She but never-glimpsed barbarians—seek ref- stars as an erratic Parisian mother steadily uge in the ancient home of a sorcerer and losing her grip on reality as her young sorceress. After being asked to surrender daughter (impressive newcomer Luce their smartphones, they are treated to a Rodriguez) escapes into a fantastical world deadpan philosophical odyssey involving of her imagination: holding conversations magic, ghosts, painting, and an extended with her pet owl, giving a biology class reenactment of an Arthurian romance as skeleton a proper burial, and even cre- they confront 21st-century insecurities and ating her own Christmas when her mom anxieties. Both playful performance art doesn’t show. Dedicated to Lvovsky’s and metaphysical consciousness-bender, own mother, Tomorrow and Thereafter this entrancing, life-affirming fable is a slyly is alternately enchanting and cathartic humorous exploration of Green’s concerns as it explores how the spirit of childhood with Baroque traditions and the search for bumps up against the often-bitter realities meaning in the age of social media. of adulthood. With Mathieu Amalric. Tuesday, March 13 6:30pm Q&A with Eugène Green Saturday, March 10 1:00pm 4:00pm Friday, March 16 2:00pm Friday, March 16

FOR TICKETS VISIT FILMLINC.ORG Sponsored by WOMEN, WORK, AND THE WILL TO LEAD Though French cinema is a world leader in making female directors central to the industry, there is still a strong male chau- vinism throughout society, pervasive in both art and in the workplace. Director Tonie Marshall—whose latest film,Number THE WORKSHOP One, depicts how women still have to (L’ATELIER) struggle to climb the social ladder—will Directed by Laurent Cantet join special guests for a talk about female France, 2017, 113m empowerment and the place of women in The Class director Laurent Cantet returns the French film and corporate industries. with another unique, provocative explora- tion of French society as seen through the Friday, March 9 7:00pm* eyes of the next generation. In the sunny coastal town of La Ciotat, a diverse group FIRST FILMS of teenagers assembles for a summer writer’s workshop led by Parisian novel- What does it take to make a first feature? ist Olivia (César Best Actress nominee And how is it different to do so in France, Marina Foïs). As the group talks through as opposed to the U.S.? First-timers— the novel they are co-writing—a murder including French filmmakers Marine The Sower mystery set in their town—the ethnic Francen ( ), Xavier Legrand Custody Ava and political fault lines between them ( ), and Jean-Louis Livi ( ); We the are gradually exposed, provoked by the and Americans Jeremiah Zagar ( Animals Nancy brooding Antoine (Matthieu Lucci), whose ), Amy Lo ( ), and Reinaldo Monsters and Men fascination with far-right extremism grows Marcus Green ( ), winner increasingly worrying. What plays out is a of the U.S. Dramatic Special Jury Award for tense, gripping, up-to-the-minute dispatch Outstanding First Feature at Sundance— on the state of contemporary France. A will discuss strategies and challenges Strand Releasing release. in producing and directing a successful debut film. Presented in partnership with French in Motion & IFP. Monday, March 12 6:30pm Q&A with Laurent Cantet Monday, March 12 7:00pm* Wednesday, March 14 1:30pm * Venue: Elinor Bunin Munroe Film Center, RENDEZ-VOUS WITH FRENCH CINEMA Amphitheater, 144 West 65th Street All screenings & events take place in the Walter Reade Theater unless noted.

Sponsored by THURSDAY, MARCH 8 WEDNESDAY, MARCH 14 6:30 Barbara 1:30 The Workshop 9:00 Barbara 4:00 Petit Paysan 6:00 Orchestra Class FRIDAY, MARCH 9 8:45 Comfort and Consolation 2:15 July Tales in France 4:00 The Lion Sleeps Tonight 6:30 Jeannette, The Childhood THURSDAY, MARCH 15 of Joan of Arc 1:30 Endangered Species 7:00 Free Talk: Women, Work, and 3:45 A Memoir of War the Will to Lead* 6:30 12 Days 9:30 Montparnasse Bienvenue 9:15 The Lion Sleeps Tonight SATURDAY, MARCH 10 FRIDAY, MARCH 16 1:00 Tomorrow and Thereafter 2:00 Tomorrow and Thereafter 3:30 The Sower 4:00 Waiting for the Barbarians

6:30 Number One 6:00 The Guardians 9:30 C’est la vie! 9:15 Ava SUNDAY, MARCH 11 SATURDAY, MARCH 17 1:00 Petit Paysan 1:00 Before Summer Ends

3:00 Custody 3:00 A Memoir of War

5:30 Endangered Species 6:00 A Paris Education 8:30 Ava 9:15 Number One MONDAY, MARCH 12 SUNDAY, MARCH 18 1:15 Montparnasse Bienvenue 1:00 Comfort and Consolation 3:30 A Paris Education in France 6:30 The Workshop 3:00 Just to Be Sure 7:00 Free Talk: First Films* 5:15 See You Up There 9:30 July Tales 7:45 C’est la vie!

TUESDAY, MARCH 13 IN-PERSON APPEARANCE 2:00 The Sower * Elinor Bunin Munroe Film Center 4:15 Jeannette, The Childhood of Joan of Arc Amphitheater 6:30 Waiting for the Barbarians 8:45 See You Up There

TICKETS $12 Members, Students, and Seniors (62+) . $17 General Public OPENING NIGHT TICKETS $20 Members, Students, and Seniors (62+) . $25 General Public STUDENT ALL-ACCESS PASS $50 (Excludes Opening Night. Student ID required. Quantities are limited.) BUY TICKETS AT FILMLINC.ORG March 12: Salut les jeunes! SPECIAL OFFER FOR TRUE FRENCH FILM LOVERS UNDER 40

Purchase a $40 All-Day Film Pass for March 12 and receive 3 free months of ­membership in our New Wave program for young cinephiles and a bottle of champagne!

All-Day Pass will be available for pick-up at the Walter Reade Theater Box Office on March 12. Offer valid to attendees 21–40 years. Proof of age must be presented to the box office. All 4 screenings must be attended in order to receive the champagne, which will be distributed after the final screening of the day. Quantities are limited.

Cover image: Montparnasse Bienvenue

RENDEZ-VOUS WITH FRENCH CINEMA IS SPONSORED BY

UNIFRANCE RECEIVES GENEROUS YEAR-ROUND SUPPORT FROM

THE FILM SOCIETY OF LINCOLN CENTER RECEIVES GENEROUS SUPPORT FROM

OFFICIAL

MEDIA SUPPORTERS

This project is supported in part by an award from the National Endowment for the Arts. New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

WALTER READE THEATER 165 WEST 65TH STREET ELINOR BUNIN MUNROE FILM CENTER 144 WEST 65TH STREET