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European Avant-Garde Pass
Thu
5
Thu 5 Feb 7:00 PM
Arc Cinema
Allocated Seating
February
Arising from postwar disaffection, combined with the political and countercultural youth movements of the 1960s, the European avant-garde rejected the cinematic conventions of the past. Instead, it turned to experimental forms, fragmentation and playful absurdity, abandoning the comforts of narrative continuity.
The French New Wave was born as writers associated with the French magazine Cahiers du cinema explicitly rejected safe and staid filmmaking based on novel adaptations, and instead championed the visual experimentation that film made possible. Many of these writers went on to lead New Wave filmmaking, including Jean-Luc Godard, whose 1965 road movie Pierrot le Fou disrupts linear continuity with jump cuts and montages, breaks the fourth wall with characters addressing the camera and emphasises its own artificiality with vibrant colour saturation.
Influenced by Surrealism and Dadaism, the Czech New Wave flourished during the brief period of cultural loosening that followed Stalin’s death in 1953 and the Soviet invasion in 1968. A young generation of filmmakers, focused on the Prague Film Academy (FAMU), began to critique authority through absurdism, dark satire, and cheeky rebellion. Věra Chytilová, the first woman to study film directing at FAMU, was a feminist trailblazer making works such as Daisies (1966), challenging patriarchal structures through chaos and absurdity.
A post–New Wave movement celebrating pop culture, glossy aesthetics and moody intensity developed in France in the 1980s, known as Cinéma du look, with a focus on style over storyline. Jean-Jacques Beineix’s 1981 film Diva was an early example, combining thriller, romance and comedy genres with opera, jazz and electronic soundtracks.
Pass includes:
The French New Wave was born as writers associated with the French magazine Cahiers du cinema explicitly rejected safe and staid filmmaking based on novel adaptations, and instead championed the visual experimentation that film made possible. Many of these writers went on to lead New Wave filmmaking, including Jean-Luc Godard, whose 1965 road movie Pierrot le Fou disrupts linear continuity with jump cuts and montages, breaks the fourth wall with characters addressing the camera and emphasises its own artificiality with vibrant colour saturation.
Influenced by Surrealism and Dadaism, the Czech New Wave flourished during the brief period of cultural loosening that followed Stalin’s death in 1953 and the Soviet invasion in 1968. A young generation of filmmakers, focused on the Prague Film Academy (FAMU), began to critique authority through absurdism, dark satire, and cheeky rebellion. Věra Chytilová, the first woman to study film directing at FAMU, was a feminist trailblazer making works such as Daisies (1966), challenging patriarchal structures through chaos and absurdity.
A post–New Wave movement celebrating pop culture, glossy aesthetics and moody intensity developed in France in the 1980s, known as Cinéma du look, with a focus on style over storyline. Jean-Jacques Beineix’s 1981 film Diva was an early example, combining thriller, romance and comedy genres with opera, jazz and electronic soundtracks.
Pass includes:
- Daisies - THU 5 FEB | 7 PM | M | 76 mins
- Pierrot le Fou - THU 12 FEB | 7 PM | M | 110 mins
- Diva - THU 19 FEB | 7 PM | M | 117 mins
February