Wednesday, 22 November 2017

Capital Celluloid 2017 - Day 339: Fri Dec 8

Playtime (Tati, 1967): ICA Cinema, 8.30pm


This 35mm screening is part of a superb "Light Show' season devoted to screening from prints over at the weekend of December 8th to 10th at the ICA. More details here.

ICA introduction:
Please walk into the light – the ICA, MUBI and Little White Lies are proud to present a weekender of movie masterworks screened on glistening 35mm celluloid. The films we have selected are all outliers in some aspect or another, and they are all the product of genius directors looking to capitalise on the possibilities of this young medium. They ask not what cinema can do for them, but what they can do for cinema. And even though each title offers a deeply personal insight into the inquiring, philosophical, playful and subversive minds of their maker, they also speak about cinema itself. What does it mean to make a movie? To create a world? To build a person?  The line-up includes Jacques Tati’s dance through the Paris of his dreams in Playtime (1967), a devilish treatise on truth in Orson Welles's F For Fake (1973), an eccentric, soul-searching confessional in Agnés Varda's The Beaches of Agnés (2008), a limo ride through the history of cinema with Leos Carax's Holy Motors (2012) and a kaleidoscopic feminist dirty bomb in Vera Chytilova’s Daisies (1966).

Chicago Reader review:
My favorite movie, this 1967 French comedy by actor-director Jacques Tati has the most intricately designed mise en scene in all of cinema. The restored 65-millimeter version, with four-track DTS sound, expands the possibilities of becoming lost in Tati's vast frames and creatively finding one's way again. His studio-constructed vision of Paris begins in daytime with nightmarishly regimented straight lines and right angles and proceeds to night with accidental yet celebratory curves of people instinctively coming together. It peaks in an extraordinary sequence, set in a gradually disintegrating restaurant, that comprises almost half the film: once various musicians start to perform, the viewer's gaze inevitably follows the customers in a kind of improvised dance, collecting and juxtaposing simultaneous comic events and details. In this landscape everyone is a tourist, but Tati suggests that once we can find one another, we all belong.
Jonathan Rosenbaum

Here (and above) is the trailer.

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