Great Restorations

The Graduate

Home Programme Great Restorations The Graduate

Credits

Country :
USA 
Year :
1967
Director :
Mike Nichols
Version :
vostFR
Duration :
106 minutes
Format :
vostFR | digital
Actors :
Dustin Hoffman, Anne Bancroft, Katharine Ross
Awards :
Best Director, Oscars 1968
📕 Based on the novel of the same name by Charles Webb
🗣️ 18:15 : Introduction to the film by Gian Maria Tore (Assistant Professor of Cinema, Arts, and Media, University of Luxembourg) - in French | 18:30 : start of the film

synopsis

Benjamin Braddock, a recent college graduate, is unsure what to do with his future when he meets Mrs. Robinson, his father’s boss’s wife. The older woman sets out to seduce him and succeeds quickly. But things get complicated when Mr. Robinson asks Benjamin to date Elaine, his daughter…

 

Les adultes cherchent soit à imposer leur propre schéma, soit à profiter de leur désarroi comme le fait Mrs Robinson ; ils n’apportent pas de réponses. Le lauréat démystifie le modèle de réussite sociale de la classe moyenne américaine et, quand on gratte, l’envers du décor n’est pas reluisant.

L’OEil sur l’écran

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The year 1967 was significant in cinema history, and if you’re trying to make sense of why, you don’t have to look much further than Mike Nichols’ "The Graduate". It is a film which appears at a great turning point in Hollywood film history, at the moments of transition between one era tied to the strictures of classical storytelling and codes self-imposed censorship, and the beginning of a new American perspective on film influenced by artistic innovations from the cinema of Europe.

Senses of Cinema

The Graduate

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Ciné-débat «Die Ermittlung»

Diskussion mit Filmausschnitten «Die Ermittlung»

Home Programme Ciné-débat «Die Ermittlung» Diskussion mit Filmausschnitten «Die Ermittlung»

Credits

Freier Eintritt | In deutscher Sprache | Anmeldung erwünscht per E-Mail : info@ipw.lu, oder telefonisch : +352 49 04 43 (IPW)
In Zusammenarbeit mit Institut Pierre Werner, Zentrum fir politesch Bildung und CNA

synopsis

Über Auschwitz-Prozesse, Holocaust und die Grenzen der filmischen Darstellbarkeit

Diskussion mit RP KAHL (Regisseur des Films Die Ermittlung) und Yves STEICHEN (Filmhistoriker) 

Wie lässt sich der Holocaust im Film darstellen? Seit den ersten Bildern aus den befreiten Todesfabriken stellt diese Frage Filmschaffende, Historiker*innen und letztlich das Publikum selbst vor moralische Herausforderungen. Von den dokumentarischen Aufnahmen der Alliierten über Alain Resnais' Nuit et brouillard (1956) und Claude Lanzmanns Shoah (1985) bis hin zu Steven Spielbergs Schindler's List (1993), László Nemes' Son of Saul (2015) und Jonathan Glazers The Zone of Interest (2023) – das Kino hat über Jahrzehnte hinweg immer wieder neue Wege gesucht, sich dem Holocaust anzunähern. Das Spektrum reicht von der radikalen Verweigerung jeder Rekonstruktion und jeden Reenactments bis zur immersiven Inszenierung bei Spielberg, dessen Film eine Debatte über die fiktionale Darstellung des Holocaust auslöste. Jeder Versuch einer filmischen Annäherung wirft unweigerlich die Frage auf, wo die Grenzen der Darstellung liegen, welche ästhetischen und ethischen Entscheidungen damit verbunden sind – und wie das Kino ein angemessener Ort für diese Erinnerungsarbeit sein kann.

Mit Die Ermittlung (2024) hat Regisseur RP Kahl sich Peter Weiss' dokumentarischem Theaterstück über die Frankfurter Auschwitz-Prozesse (1963 bis 1965) angenommen, die als erster großer Versuch der bundesdeutschen Justiz gelten, die Verbrechen von Auschwitz strafrechtlich aufzuarbeiten. Sie trugen maßgeblich dazu bei, den Holocaust ins öffentliche Bewusstsein der Nachkriegsgesellschaft zu rücken. Kahls Film konfrontiert das Publikum mit den Zeugenaussagen und Protokollen der Prozesse, und stellt die Frage nach der Darstellbarkeit des industriellen Massenmordes auf eindringliche Weise – nicht durch die Rekonstruktion des Grauens selbst, sondern durch die Sprache derer, die es bezeugen und derer, die es verantworten.

Der Abend lädt ein zu einer vertieften Auseinandersetzung mit der Geschichte und den Herausforderungen der filmischen Holocaust-Darstellung. Ein einleitender Vortrag ordnet das Werk in den filmhistorischen Kontext ein, bevor Regisseur RP Kahl im Rahmen eines Gesprächs mit Filmhistoriker Yves Steichen Einblicke in seine künstlerische Herangehensweise gewährt.

Die Ermittlung

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Great Restorations

My Dinner with André

Home Programme Great Restorations My Dinner with André

Credits

Country :
USA 
Year :
1981
Director :
Louis Malle
Version :
vostFR
Duration :
110 minutes
Format :
digital
Actors :
Andre Gregory, Wallace Shawn, Jean Lenauer
🗣️ 18:15 : Introduction to the film (in French) | 18:30 : start of the film

synopsis

Wallace, a New York playwright, meets André Gregory, an old acquaintance and theatre director. Initially reluctant, Wally gradually gets drawn into the conversation and opens up wholeheartedly over the course of the meal.

My Dinner with André

Louis Malle démontre que le cinéma est un art aussi aventureux que le bavardage.

Télérama

This is a bizarre and surprisingly entertaining satirical comedy ‒ the story of the search beyond theatre turned into theatre, or, at least, into a movie.

The New Yorker

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Cinémathèque Film Club

Frances Ha

Home Programme Cinémathèque Film Club Frances Ha

Credits

Country :
USA
Year :
2012
Director :
Noah Baumbach
Version :
vostDE
Duration :
86 minutes
Format :
digital
Actors :
Greta Gerwig, Mickey Sumner, Adam Driver, Michael Zegen, Grace Gummer
Awards :
Nominee Best Actress in a Comedy or Musical (Gerwig), Golden Globes 2013
Age classification :
12+
In collaboration with Les Théâtres de la Ville de Luxembourg
Screening followed by a discussion between Larisa Faber, guest of the Cinémathèque Film Club, and the audience (in English | about 45’)

synopsis

A 27-year-old aspiring dancer drifts through New York City, stumbling through friendships, money troubles, and half-formed dreams with buoyant awkwardness.
 

Larisa Faber is Luxembourg-Romanian writer, director and performer. IG: @larisa.faber

u Discount on Larisa Faber’s show at Les Capucins  
During the screening, an exclusive promo code will be revealed, giving you 10% off your ticket for The Land We Shared, the new creation by Larisa Faber.

Frances Ha

"Frances Ha" is the quintessential Millennial movie, anchored by Greta Gerwig’s captivatingly charming protagonist and Noah Baumbach’s bittersweeteye on a generation’s hope and disillusionment. For the dreamers who believed life would be Truffaut-infused nostalgia in black-and-white, but instead got an underwhelming, grey weekend away in Paris and muddled through anyway. PS. My husband hates this film. With a passion. So perfect first date material, if you ask me. Perfect for rekindling, perfect for dissecting, discussing, debating.

Larisa Faber, à propos de son choix

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Great Restorations

The Ear

Home Programme Great Restorations The Ear

Credits

Original title :
Ucho
Country :
Tchecoslovaquie
Year :
1969
Director :
 Karel Kachyna
Version :
vostEN
Duration :
94 minutes
Format :
digital 
Actors :
Jirina Bohdalová, Radoslav Brzobohaty, Gustav Opocensky
🗣️ 18:15 : Introduction to the film (in English) | 18:30 : start of the film

synopsis

Après être rentré d’une soirée, un fonctionnaire tchécoslovaque devient convaincu qu’il est sur le point de faire l’objet d’une purge politique et tente d’en limiter les conséquences, tout en gérant son mariage turbulent.

A remarkable thriller that explores the paranoia of a country due to the omnipresent nature of its government while also being a compelling domestic drama driven by the strength of its characters. The fact that we, the viewers, are as intrusive to the life of these people as the dreaded ‘ear’ makes for an interesting voyeuristic experience that’s hard to look away from.

Czech Film Review

The Ear

Suppressed as soon as production finished, Karel Kachyna's "The Ear" now resurfaces in a glorious 4K restoration. Prochazka’s dramatic masterstroke was to stage much of the film in the presumably grace-and-favour house that Ludvik shares with his wife, and to have as many thematic nods to Edward Albee's "Who’s Afraid of Virginia Woolf?" as to the universe of Franz Kafka. It remains a brilliant analysis of how political power is maintained and enforced – and not just in a totalitarian situation.

BFI

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Great Restorations

Werckmeister Harmonies

Home Programme Great Restorations Werckmeister Harmonies

Credits

Original title :
Werckmeister harmóniák
Country :
Hongrie-Italie-Allemagne
Year :
2000
Director :
Bela Tarr, Agnes Hranitzky
Version :
vostEN
Duration :
145 minutes
Format :
digital
Actors :
Lars Rudolph, Hanna Schygulla, Peter Fitz, Janos Derzsi
🗣️ 18:30 : Introduction to the film (in English) | 18:45 : start of the film
In memoriam Béla Tarr

synopsis

In the Hungarian lowlands, during Communist times, a town is unsettled by the arrival of a strange traveling circus. It attracts the interest of the inhabitants who line up by the hundreds to see the main attraction: a stuffed whale hiding a mysterious prince.

Viewers should allow themselves to fully confront the terrifying ‘unresolvability’ of the film’s central theme: the immortal endlessness of the universe in relation to human finitude. Don’t miss this opportunity to see a film that exploits the big screen to an absolute extreme.

Cine-file

Werckmeister Harmonies

Tarr’s precise yet effortless command of the long take is so transcendent as to suggest the presence of God. Every stoppage point within each shot becomes a heavenly composite of the film’s collective whole.

Slant Magazine

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Great Restorations

The Paradine Case

Home Programme Great Restorations The Paradine Case

Credits

Country :
USA
Year :
1947
Director :
Alfred Hitchcock
Version :
vostDE
Duration :
114 minutes
Format :
digital | 4K Restoration
Actors :
Gregory Peck, Alida Valli, Ann Todd, Charles Laughton, Louis Jourdan 
🗣️ 18:15 Introduction to the film (in English) | 18:30 Start of the film

synopsis

Attorney Anthony Keane agrees to represent Londonite Mrs. Paradine, suspected of her husband’s murder. From the start, the married lawyer is drawn to the enigmatic beauty, and he begins to think about ways to exonerate his client. Keane puts a Paradine household servant on the stand, suggesting he is the killer. But Keane’s half-baked plan sets off a stunning chain of events.

The Paradine Case

Has almost everything to recommend it: a superb director, Alfred Hitchcock; an impressive cast, a typical expensive and authentic production by David O. Selznick and an exciting story.

Boston Globe

More than just an excellent example of Hitchcock’s craftsmanship, The Paradine Case is an intriguing stew of subverted desire and the denial of satisfaction, and remains one of the auteur’s most subtly perverse offerings.

Ion Cinema

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Great Restorations

Él

Home Programme Great Restorations Él

Credits

Country :
Mexique
Year :
1953
Director :
Luis Buñuel
Version :
vostEN
Duration :
92 minutes
Format :
digital | 4K Restoration
Actors :
Arturo de Córdova, Delia Garcés, Aurora Walker
📖 Based on the novel by Mercedes Pinto 
🗣️ 18:15 Introduction to the film (in English) | 18:30 Start of the film

synopsis

A husband’s suave exterior unravels after his marriage, and he unleashes his paranoid and volatile temper on his wife, which escalates to ever more dangerous and unpredictable tantrums.

Released at the height of his prolific Mexican period, Él remains one of Luis Buñuel’s crowning achievements.

Slant Magazine

El

With eerie point-of-view shots, Buñuel gets inside the mind of a madman whose sadism is inseparable from his high social position; his commanding manner mirrors the folly and the cruelty of society at large.

The New Yorker

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Great Restorations

Blind Chance

Home Programme Great Restorations Blind Chance

Credits

Original title :
Przypadek
Country :
Pologne
Year :
1987
Director :
Krzysztof Kieślowski
Version :
vostEN
Duration :
124 minutes
Format :
digital
Actors :
Boguslaw Linda, Tadeusz Lomnicki, Adam Ferency 
Awards :
Festival de Cannes, 1987
🗣️ 18:15 Introduction to the film (in English) | 18:30 Start of the film

synopsis

In Communist Poland, Witek, a medical student, runs to catch a train to Warsaw. From this single moment, three distinct versions of his future unfold, each shaped by whether he manages to board the train or whether he misses it.

Asks to be read for both its political and its philosophical implications. Kieślowski appears to propose that even in the divisive, paranoid atmosphere of late Communist Poland, a retreat from politics is not the answer. The echo chamber of unhappy endings amounts to a howl of no-win pessimism. But Kieślowski was a pessimistic humanist; his despair over humanity coexisted with a stubborn faith in it.

Criterion Collection

The indelible fulcrum of Kieslowski’s career as a documentarian and his blossoming as a major arthouse auteur.

Slant Magazine

Blind Chance

One of Krzysztof’s best films, perhaps even the best and the most original.

Agnieszka Holland

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Holocaust Remembrance Day

Austerlitz

Home Programme Holocaust Remembrance Day Austerlitz

Credits

Country :
Germany
Year :
2016
Director :
Sergei Loznitsa
Version :
vostEN
Duration :
94 minutes
Format :
digital
Awards :
Nomination Best European Documentary, European Film Awards 2017
In partnership with Zentrum fir politesch Bildung, Luxembourg City Film Festival, Ministère de l’Éducation nationale, de l’Enfance et de la Jeunesse, Centre National de l’Audiovisuel, SCRIPT and IFEN
🗣️ Followed by a discussion with Gian Maria Tore (Assistant Professor in Film, Art, and Media, Uni.lu) and the audience | in French

synopsis

Placing his camera among visitors wandering through the Sachsenhausen and Dachau concentration camps, Sergei Loznitsa invites us to reflect upon the dynamics between history, memory and tourism. 

Austerlitz

Loznitsa shows you the central activity: looking. Everyone is looking, looking, looking. Looking at what? Buildings, walls, yards, enclosures. The victims are not there. The war criminals are not there. The past is not there. Perhaps each new tourist erodes the site further until all that is left is dust. But visiting these sites is not meaningless and not wrong. It is part of human curiosity, which is better than indifference or forgetting.

The Guardian

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