Capital Celluloid 2022 — Day 210: Sun Jul 31

Celine and Julie Go Boating (Rivette, 1974): ICA Cinema, 6.15pm

A personal favourite. This is a long movie and I took a hip flask in when I went to see this on a date at Notting Hill's Electric Cinema back in the day. That worked wonderfully as this is a meandering film, probably best seen under some sort of influence.

A special 35mm screening co-presented with the London Short Film Festival and Zodiac Film Club as part of their Eye Rituals programme.

Before the screening, ticketholders are invited to a workshop with author, death midwife and mystic Tree Carr. Echoing the playful remodelling of reality led by Jacque Rivette’s characters, they will learn how to effortlessly capture, weave, and navigate their dreams, and make the most of one’s dream time.

Chicago Reader review:
Jacques Rivette's 193-minute comic feminist extravaganza is as scary and unsettling in its narrative high jinks as it is exhilarating in its uninhibited slapstick (1974). Its slow, sensual beginning stages a meeting between a librarian (Dominique Labourier) and a nightclub magician (Juliet Berto). Eventually, a plot within a plot magically takes shape—a somewhat sexist Victorian melodrama with Bulle Ogier, Marie-France Pisier, Barbet Schroeder (the film's producer), and a little girl—as each character, on successive days, visits an old dark house and the same events take place. The elaborate Hitchcockian doublings are so beautifully worked out that this movie steadily grows in resonance and power. The four main actresses scripted their own dialogue with Eduardo de Gregorio and Rivette, and the film derives many of its euphoric effects from a wholesale ransacking of the cinema of pleasure (cartoons, musicals, thrillers, and serials).
Jonathan Rosenbaum

Here (and above) is Mark Kermode's take on the movie.

No comments: