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“Everything I know, I learned through cinema, through films. It is through
cinema that my ideas about life come out. And it’s at the Cinémathèque that
people can learn about the history, past and present of cinema! It’s the only
place they can learn about it! It’s a never-ending education. I’m the kind of
person who needs to see old films –silent films and the first sound films –
again and again. So, I spend all of my time at the Cinémathèque, except when
I am busy shooting one myself".
(L’Express, 20 March 1968)
François Truffaut
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CONTENTS
FRANÇOIS TRUFFAUT EXHIBITION
p5
(8 October 2014 – 25 January 2015)
Truffaut Passion by Serge Toubiana, Exhibition Curator
Exhibition Catalogue a Flammarion / La Cinémathèque française joint publication
Exhibition Tours and Trails
RETROSPECTIVE / EVENTS SCHEDULE
p 12
A Complete François Truffaut Retrospective
(8 October – 30 November 2014)
After François Truffaut: Imprints and Influences
(10 October – 16 November 2014)
TO EACH HIS OWN TRUFFAUT
p 16
A Nationwide Educational Project
FRANÇOIS TRUFFAUT: A SYMPOSIUM
p 17
36 Hours Dedicated to François Truffaut’s Way of Writing
(6 – 7 November 2014)
Day dedicated to Film School Students
(Wednesday 5 November)
NEWS
p 18
Le Dernier Métro Restored
The Retrospective’s Theatre Re-Release
The Complete Film Collection on DVD
Editions
Music: François Truffaut’s Musical World. The Complete Collection.
François Truffaut on ARTE
Writing Contest with Télérama
FOR YOUNG AUDIENCES
p 21
Schedule / Family Tours / Tours-Workshops / Extended Workshops
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La Nuit américaine 1973. Photo Pierre Zucca © Syl vie Quesemand-Zucca
Fra nçois Truffaut et Jean-Pierre Léaud sur le tournage de Domicile conjugal
1970. Photo Pierre Zucca . © Syl vie Quesemand-Zucca
Yul Brynner et Fra nçois Truffaut.
Remise de l ’Os ca r du meilleur film étranger en 1974 pour La Nuit américaine
“I create films to make the dreams of my adolescence reality, to do myself
good, and to do good to others”.
François Truffaut
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François Truffaut Exhibition
8 October 2014 – 25 January 2015
A La Cinémathèque Française Production
With the support of
And the participation of
Exhibition Curator
Serge Toubiana, Director, La Cinémathèque française
Assisted by Florence Tissot and Karine Mauduit
Scenography
Agence NC – Nathalie Crinière
Fra nçois Truffaut lors de la promotion de Baisers volés, 1968, Pierre Zucca © Syl vie Quesemand-Zucca .
Exhibition Catalogue jointly published by Flammarion and La Cinémathèque française
Media Partners
HEAD OF PRESS RELATIONS, LA CINÉMATHÈQUE FRANÇAISE
Elodie Dufour - Phone: +331 71 19 33 65 / +336 86 83 65 00 – [email protected]
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TRUFFAUT PASSION
“I create films to make the dreams of my adolescence reality, to do myself good, and to do good to others". In
one sentence, François Truffaut summed up simply, clearly and completely his love for cinema and his desire to
be a film-maker. He arranged his life to achieve that goal. When he passed away on 21 October 1984, at age 52,
he left the sense of having lived life at full speed, as though pressed for time, as though he had to get
everything done as long as time still allowed.
His legacy includes twenty-one full-length films, a handful of short films, hundreds of articles on cinema in a
large number of journals or magazines, primarily Les Cahiers du cinema and weekly Arts, prefaces to books by
men whom he admired or who helped him (Renoir, Bazin, Welles, Rossellini, Ophuls, Nestor Almendros,
Sacha Guitry, Tay Garnett, etc.), the famed interview book, Le Cinéma selon Alfred Hitchcock, which has come
to be known as the “Hitchbook”, published by Robert Laffont in 1966, and later by Simon & Schuster in
America, translated into multiple languages and re-released countless times since then. Not to mention
Truffaut as actor, in some of his films: L’Enfant sauvage [The Wild Child], La Nuit américaine [Day and Night]
and La Chambre verte [The Green Room], and in the Spielberg film, Close Encounters of the Third Kind (1977).
Or the publication of his Correspondence, which included many letters selected from the thousands he wrote
throughout his years to people from all walks of life, some close and some more distant. In short, he came, saw
and “overall”, did indeed conquer.
The fact nonetheless remains that his death left a bittersweet taste in people’s mouths, a sense of something
left uncompleted, a deep melancholy, not only amongst his relatives, loved ones, actresses and actors and the
‘Carrosse’ family. Today, countless film-makers, young men and above all young women, take inspiration from
his work and his taste for the Romanesque, who regret not having known him, crossed his path or frequented,
not only in France, but also in Japan, America and across the world. When Truffaut made Vivement dimanche!
[Confidentially Yours], his last film, he still had several irons in the oven. These included several very advanced
screenplays, jointly written with Jean Gruault (the early versions of 00-14), or Claude de Givray (La Petite
Voleuse / The Little Thief), which Claude Miller would direct in 1988), and of course a project which mattered a
great deal to him, Nez de cuir [Leather Nose], in which he pictured Gérard Depardieu – with whom he had
become friends – and Fanny Ardant. Diminished and ill, thinking he was on the road to recovery or wanting to
believe he was, Truffaut held on to the hope that he would resume work and “complete the figure” in a sense,
as Julien Davenne says feverishly and passionately in
La Chambre verte. Yes, complete the figure. But which figure? The figure of a man entirely given over to his
sole passion, cinema. A kind of radical, exclusive, sacred devotion, where self-centredness had no place.
By the time François Truffaut passed away, many people had come to categorise him as one of those filmmakers who had tidily stowed themselves away in the industry’s establishment, having betrayed the ideals of
their youth, failing to see what, in him, was the incredible power of obstinacy and single-mindedness: “I want
my films to look like they were made by a man with a 40° temperature”, he said… It is believed, and rightfully
so, that his body of work is consistent, harmonious and rounded – and it is. Several films follow in fine logical
succession: the “Doinel Saga”, an original and unique series in which the main character, Jean-Pierre Léaud,
comes of age, growing from age 14 to age 38, over the course of five episodes that make up his sentimental
education. The “passion” films, from Jules et Jim [Jules and Jim] to La Femme d’à côté [The Woman Next
Door], with La Peau douce [The Soft Skin], La Sirène du Mississipi [Mississippi Mermaid], Les Deux Anglaises
et le Continent [Two English Girls], L’Histoire d’Adèle H. [The Story of Adele H.] and Le Dernier Métro [The last
Metro] along the way, in which Truffaut takes it upon himself to exorcise his dark vision of mad love: “Can’t live
with you, can’t live without you”, as Madame Jouve (Véronique Silver) in La Femme d’à côté said, pithily
summing up the impossible equation that pushes young lovers to fly too close to the sun and fall to their death:
“Like a giant vulture, it hovers high above us, freezes us in our tracks and unfurls its menace… Yes, love is a
painful thing”. The five films tailored for the “dark series”: Tirez sur le pianist [Shoot the Piano Player], a
poetic depiction, reminiscent of Queneau, of the gangster underworld; La mariée était en noir [The Bride
Wore Black], orchestrated by Bernard Herrmann, and recommended as repeat viewing for its bold narrative
and power of the fixation guiding its heroine (a woman decides, once and for all, to commit murder), La Sirène
du Mississipi, a ravishing film of “illness”, in which Belmondo appears diminished, sometimes moaning in pain,
while the heroine, magnificently embodied by Catherine Deneuve, takes over the show, lying through her
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teeth to get her way. The breath-taking beauty of Truffaut’s couples deserves to be emphasised here:
Aznavour-Marie Dubois (Tirez sur le pianiste), Jeanne Moreau and her two lovers: Oskar Werner and Henri
Serre (Jules et Jim), Desailly-Françoise Dorléac (La Peau douce), Belmondo-Deneuve (La Sirène), DeneuveDepardieu (Le Dernier Métro), Fanny Ardant-Depardieu (La Femme d’à côté) or Fanny Ardant-Trintignant
(Vivement dimanche !). The couples are indeed magical, though there is always something slightly off, a grain
of sand in the works, a love song that ends on a sad note. They fall in love, part ways, reunite because love
conquers all – but there is always that point when everything is out of balance, where no harmony is to be
found. A painful thing, indeed! Then, of course, there are the films about childhood: from Les Mistons [The
Mischief Makers] to L’Argent de poche [Small Change], Les Quatre Cents Coups [The 400 Blows] and L’Enfant
sauvage [The Wild Child], in which Truffaut, as though taking an imaginary trip back to his own childhood,
attempts to crack the mystery of beings and language, bringing together his taste for truancy and his belief in
learning language, the only tool that can effectively shape a destiny or hew out place in society.
In this body of work, though intended as a harmonious whole, a breach quickly comes to the eye: a sense of
something incomplete, a door open onto a future without illusions… Truffaut died too soon and too young for
us to just miss him. More than anything else, we can sense a tremendous amount of mystery in his cinema,
something that comes back film after film, like an echo or a ricochet. Something haunting. It is not enough to
watch his films again and again; depending on the time or the season, they take on a different hue, a different
tone; they appear in a surprisingly different light, as though time were on their side, or sometimes on the
opposite side, as though they were looking back at us, when we were a different age.
L’Homme qui aimait les femmes [The Man Who Loved Women], with the fabulous Charles Denner, the filmmaker’s ideal in more than one way, epitomises this. What comes back relentlessly in this film is love, romantic
(and sexual) conquest in the form of obsession and a haunting angst. After eighteen hours, Bertrand Morane
can no longer bear the company of men. He goes a-hunting, like a “cad”, with his night-owl acuity and anxious
air, but because of this, ends up impossibly overwrought, as those his entire life depended on this single
evening. A “hyper-Truffaut” plot, when one recalls that young François Truffaut’s mother was completely
indifferent to her only son. The lack of love or lack of interest on the part of a mother for her own son would
give rise to a calling – film-making, or loving all women. His was a fixation, an obsession to be successful doing
only that which he loved: making films. This highly-Romanesque fictional map was dear to Truffaut’s heart, and
made its return in morbid, elegiac form in La chambre verte [The Green Room], where the film-maker himself,
as actor, worshipped his deceased wife and friends. There is a logical connection that is both obvious and
secret, between Bertrand Morane who worships all women (with whom he has been) and Julien Davenne
who, locked in the mortuary room, slips a ring on his deceased wife’s finger. The two films answer one another,
accompanied (post-mortem) by Maurice Jaubert’s glorious scores. It is cinema as the art of celebrating the
dead – or the living (like Denner) who are still unaware that death is lurking.
Serge Toubiana
Exhibition Curator
Claude Jade et Jean-Pierre Léaud. Domicile conjugal de François Truffaut, 1970. Photo Pierre Zucca © Syl vie Quesemand-Zucca
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Catherine Deneuve et Gérard Depardieu dans Le Dernier Métro de François Truffaut, 1980.
Photographie Jean-Pierre Fizet © Jean-Pierre Fizet.
Claude Jade et Jean Pierre Léaud dans Domicile conjugal de François Truffaut, 1970.
Photographie Pierre Zucca © Succession Pierre Zucca.
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THE EXHIBITION
Dotted with numerous excerpts from films and interviews, the exhibition showcases drawings,
photos, objects, books and magazines, annotated scenarios, original documents and costumes, all
from the collections at La Cinémathèque Française. The archives entrusted by the film-maker’s family
to the Cinémathèque holds an incredible wealth of material and testifies to Truffaut’s consummate
desire to hold on to objects. Never-before-exhibited documents, recently rediscovered thanks to the
film-maker’s loved ones and cinematic partners in crime will be displayed for the first time as part of
the exhibition. These include actor screen tests, costume sketches from Le dernier metro, photos
from different film sets and accessories. Correspondence, handwritten notes and notebooks will
gradually etch out the Romanesque world of François Truffaut, as well as his love for literature,
displayed in the novels he adapted, including Henri-Pierre Roché’s Jules et Jim and Les Deux
Anglaises et le continent, or Ray Bradbury’s Fahrenheit 451, plus the five films based on la Série
noire.
The exhibition will take visitors back down François Truffaut’s personal path from his earliest youth
to the legacy he left to contemporary cinema. His childhood, which he used as inspiration in writing
Les Quatre Cents Coups (truancy, cinema clubs, the Pigalle district in Paris) often comes back in his
films, through the theme of education. By age 21, François Truffaut had become a prolific, selfeducated critic and maverick. For Les Cahiers du cinéma, the editorial room of which will be
reconstituted for the exhibition, and at weekly magazine Arts, he penned several hundred articles
between 1953 and 1958, reinventing film criticism to the core. His book of interviews with Alfred
Hitchcock, which he made with American friend Helen Scott, shook the global cinema book industry
to its foundations, when it was published in 1966.
After the mythical period of La Nouvelle Vague, the exhibition will showcase each of the central
themes in Truffaut’s work, his work method and his impact across the world. The sentimental
education is central to the Doinel series of films, unparalleled anywhere in the world: in it, the filmmaker showed a character and, concurrently, his favourite actor Jean-Pierre Léaud, coming of age
over a period of twenty years. The theme of passionate love (astutely summed up in a line from La
Femme d’à côté: “Can’t live with you, can’t live without you”) paved the way for François Truffaut to
direct some of the leading actresses of the day: Jeanne Moreau, Marie Dubois, Françoise Dorléac,
Claude Jade, Catherine Deneuve, Bernadette Lafont, Isabelle Adjani, Marie-France Pisier, Nathalie
Baye, and Fanny Ardant, who faced off with Charles Aznavour, Jean Desailly, Oskar Werner, Charles
Denner, Jean-Louis Trintignant and Gérard Depardieu.
The exhibition will showcase the prominent photographers (Richard Avedon, Raymond Cauchetier,
Raymond Depardon, Robert Doisneau, Philippe Halsman, Jacques-Henri Lartigue or Pierre Zucca),
who captured them for eternity, alongside the film-maker.
Serge Toubiana
Exhibition Curator
The exhibition « François Truffaut » would not have been possible without the trust and support of
Madeleine Morgenstern, Laura Truffaut, Eva Truffaut and Joséphine Truffaut.
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EXHIBITION CATALOGUE
François Truffaut
Directed by Serge Toubiana
A Flammarion - La Cinémathèque Française joint publication.
The work draws from the personal archives of François Truffaut to
illustrate his life and work, revisiting the main themes that inspired
him: male/female relationships, America, sentimental education,
literature, etc.
Texts and interviews: Martine Barraqué, Bernard Benoliel, Carole
Le Berre, Yann Dedet, Claude de Givray, Pierre-William Glenn, Jean
Gruault, Jean-Louis Livi, Karine Mauduit, François Porcile, Gabrielle
Sébire, Jean-François Stévenin, Florence Tissot, Jérôme Tonnerre
and Serge Toubiana.
On-the-set photos and many never-before-seen documents.
€35.50 - 240 pages
Hardcover / Format 19.5 × 25.5 cm
Release date: 8 October 2014
PRESS CONTACT Flammarion
Béatrice Mocquard Phone: 33 (0) 1 40 51 31 35
E-mail: [email protected]
“Shooting a film feels exactly like riding a stagecoach into the Far West. When you start
out, you hope it will be a good trip, but very quickly, you start wondering whether you’ll
even reach your destination”.
François Truffaut
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EXHIBITION TOURS AND TRAILS
FRANÇOIS TRUFFAUT EXHIBITION
8 October 2014 - 25 January 2015
La Cinémathèque française, Musée du cinéma
51 rue de Bercy, 75012 Paris
Information +331 71 19 33 33
OPENING HOURS
Mondays to Saturdays (closed Tuesdays): 12 PM – 7 PM.
Extended hours on Thursdays, to 10 PM.
Sundays: 10 PM – 8 PM.
Closed on Tuesdays, 25 December and 1 January.
10 AM opening during school holidays (18 Oct - 2 Nov, 20 Dec - 4 Jan)
ADMISSION
Full rate: €11* - Reduced rate: €8.50* - Under age 18: €5.50* - ‘Atout Prix’ Rate: €7.50 – ‘Libre Pass’ holders:
free
Combo tickets (exhibition + film or exhibition + Musée de La Cinémathèque: €13*
No-wait ticket: cinematheque.fr / fnac.com
* + €1 online pre-sale fee.
Guided tours. Every Saturday and Sunday, 3 PM.
The tour explores the vestiges of childhood in Truffaut’s films, introduces the film-lover and passionate critic in him – the
man of the written word and teller of love stories for the silver screen. Some of the tricks of the trade he used in making
films will be revealed, giving visitors a greater understanding of his methods. Rate: €13
A new special event Exhibition Trail
‘Depictions of Passionate Love’
Thursdays: 16 October, 6 November, 27 November, 11 December and 8 January, 7 PM.
After a guided tour of the exhibition, including film excerpts showing couples in the throes of rapturous love, a lecturer will
enlighten visitors on how passion fires up the very flesh of Truffaut’s cinema.
Guided tours in French Sign Language (LSF) First Friday each month, at 5:30 PM. Rate: €6
Family tours Including activities for Young Audiences and an exhibition trail specially designed for children, with
Télérama enfants magazine.
Les Quatre Cents Coups de Fra nçois Truffaut, 1959. Photogra phie André Dino © André Dino/DR.
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RETROSPECTIVE / EVENTS SCHEDULE
Complete François Truffaut Retrospective
(8 October – 30 November 2014)
One of the major film-makers of the Nouvelle Vague. Originally from the world of film criticism, where he made
himself a name as an uncompromisingly lucid viewer, he made his film debut with Les Quatre Cents Coups in
1959, the story of a troubled childhood that broke away from the conventions of French cinema. Up to his
death in 1984, he would release more works in which the taste for the Romanesque and his love of literature
would regularly combine with a form of encrypted autobiography (the Antoine Doinel series).
Opening the retrospective will be Le Dernier métro, by François Truffaut (1980), restored in 2014 by MK2 and
La Cinémathèque française, with the support of Fonds Culturel Franco-Américain - DGA - MPA - SACEM –
WGAW. Cannes Classics Official Selection 2014.
FRANÇOIS TRUFFAUT RETROSPECTIVE RE-RELEASE IN THEATRES
22 October: Following its exclusive run at La Cinémathèque française, the François Truffaut retrospective will be re-released
in theatres (distributed by Diaphana for MK2)
L’AMOUR EN FUITE (1978/99’/DCP)
Version numérique restaurée en haute définition par MK2.
Précédé de QUAND JE SERAI JEUNE
DE YANN DEDET (1988/17’/16MM)
di 12 oct 19h00 / ve 24 oct 16h00 / je 13 nov 21h45
L’ARGENT DE POCHE (1975/104’/DCP)
FAHRENHEIT 451 (GRANDE-BRETAGNE/1966/112’/DCP)
Version numérique restaurée en haute définition par MK2.
lu 20 oct 19h00 / je 06 nov 20h30 / di 30 nov 14h30
LA FEMME D’À CÔTÉ (FRANCE/1981/106’/DCP)
Version numérique restaurée en haute définition par MK2.
sa 18 oct 19h00 / sa 15 nov 19h00 / lu 24 nov 14h30
Version numérique restaurée en 2K par MK2
avec le soutien du CNC.
je 16 oct 14h30 / me 29 oct 14h30 / me 19 nov 17h30
Version numérique restaurée en haute définition par MK2.
je 16 oct 19h00 / me 05 nov 19h00 / me 26 nov 17h
BAISERS VOLÉS (1968/90’/DCP)
L’HOMME QUI AIMAIT LES FEMMES (1976/DCP)
Version numérique restaurée en haute définition par MK2.
Précédé de ANTOINE ET COLETTE (1961/32’/DCP)
je 09 oct 14h30 / me 22 oct 16h15 / lu 10 nov 19h
Version restaurée en 2K par MK2 avec le soutien du CNC.
sa 25 oct 19h00 / ve 14 nov 19h00 / ve 28 nov 17h
L’HISTOIRE D’ADÈLE H. (FRANCE/1975/99’/DCP)
JULES ET JIM (FRANCE/1961/105’/DCP)
UNE BELLE FILLE COMME MOI (1972/97’/35MM)
Précédé de LES MISTONS (1957/18’/DCP)
Version numérique restaurée en 2K par MK2.
ve 17 oct 19h00 / sa 15 nov 21h45 / me 26 nov 14h30
Version numérique restaurée en haute définition par MK2.
sa 11 oct 21h45 / lu 27 oct 21h45 / sa 1er nov 14h15
LA MARIÉE ÉTAIT EN NOIR (FCE-ITALIE/1967/109’/DCP)
LA CHAMBRE VERTE (1977/94’/35MM)
sa 25 oct 16h30 / di 09 nov 21h45 / ve 14 nov 21h30
Version numérique restaurée en haute définition par MK2.
lu 27 oct 19h00 / sa 08 nov 19h00 / sa 22 nov 14h30
LA NUIT AMÉRICAINE (FRANCE-ITALIE/1972/115’/35MM)
di 12 oct 15h00 / di 26 oct 19h00 / ve 07 nov 20h30
LE DERNIER MÉTRO (1980/131’/DCP)
Version numérique restaurée en ultra haute définition par MK2
et La Cinémathèque française
avec le soutien du Fonds Culturel Franco-Américain.
me 08 oct 20h Soirée privée, places pour les Libre Pass
di 02 nov 19h00 / je 20 nov 14h30
LES DEUX ANGLAISES ET LE CONTINENT DE
FRANÇOIS TRUFFAUT (1971/132’/DCP)
Version numérique restaurée en haute définition par MK2.
je 09 oct 19h00 / di 09 nov 19h00 / sa 22 nov 21h15
DOMICILE CONJUGAL (FRANCE-ITALIE/1970/95’/DCP)
LA PEAU DOUCE (FRANCE/1963/115’/DCP)
Version numérique restaurée en haute définition par MK2.
ve 10 oct 21h15 / me 29 oct 19h / ve 21 nov 14h30
LES QUATRE CENTS COUPS (FRANCE/1958/93’/DCP)
Version numérique restaurée en haute définition par MK2 avec
le soutien de la Fondation Gan pour le Cinéma.
me 15 oct 14h30 / ve 24 oct 19h / lu 17 nov 14h30
LA SIRÈNE DU MISSISSIPI (FCE-ITALIE/1968/125’/DCP)
Version numérique restaurée en haute définition par MK2.
sa 18 oct 14h30 / lu 10 nov 21h / ve 31 oct 19h
Version numérique restaurée par MK2 en haute définition.
TIREZ SUR LE PIANISTE (FRANCE/1959/80’/DCP)
Précédé de
MA CHÈRE HELEN DE LILLIE FLESHLER ET
ERIN IRBY (EU/2013/20’/VOSTF/NUMÉRIQUE)
Version numérique restaurée en haute définition par MK2.
me 15 oct 17h / me 19 oct 15h / me 22 oct 19h
sa 11 oct 19h00 / je 23 oct 16h30 / je 13 nov 19h00 B
VIVEMENT DIMANCHE ! (FRANCE/1982/110’/DCP)
L’ENFANT SAUVAGE (FRANCE/1969/85’/DCP)
Version restaurée en 2K par MK2 avec le soutien du CNC.
di 19 oct 15h00 / di 16 nov 19h30 / je 27 nov 14h30
Version restaurée en haute définition par MK2.
Précédé de LA PETITE GRAINE DE TESSA RACINE
(FRANCE/1998/18’/35MM)
di 19 oct 19h00 / sa 01 nov 19h00 / sa 08 nov 21h30
COURTS MÉTRAGES AUTOUR DE TRUFFAUT
sa 11 oct 17h00 / me 05 nov 21h15 / sa 29 nov 17h
À BOUT DE SOUFFLE DE JEAN-LUC GODARD
(FRANCE/1959/90’/DCP)
D’APRÈS UN SUJET ORIGINAL DE FRANÇOIS TRUFFAUT
je 09 oct 17h
CE GAMIN-LÀ DE RENAUD VICTOR (FRANCE/1975/95’/35MM)
François Truffaut coproducteur.
ve 31 oct 14h30
L’ENFANCE NUE DE MAURICE PIALAT
(FRANCE/1967/82’/35MM)
François Truffaut coproducteur.
ve 10 oct 17h
HENRI LANGLOIS DE ROBERTO GUERRA ET EILA HERSHON
(ETATS-UNIS/1970/52’/VOSTF/NUMÉRIQUE)
Film longtemps resté inédit restauré par La Cinémathèque
française.
lu 20 oct 21h30
L’HOMME À FEMMES (THE MAN WHO LOVED WOMEN)
DE BLAKE EDWARDS (EU/1983/110’/VOSTF/35MM)
Remake de L’Homme qui aimait les femmes de François
Truffaut.
sa 25 oct 21h30
ROBERTE DE PIERRE ZUCCA (FRANCE/1977/105’/35MM)
di 12 oct 17h
LE TESTAMENT D’ORPHÉE DE JEAN COCTEAU
(FRANCE/1959/79’/35MM)
François Truffaut producteur.
je 16 oct 17h
TIRE AU FLANC DE CLAUDE DE GIVRAY
(FRANCE/1961/87’/35MM)
Quatrième adaptation, produite par François Truffaut, de la
pièce d’Andre Sylvane et Andre Mouezy-Eon.
François Truffaut interprète et dialoguiste.
lu 27 oct 14h30
UNE GROSSE TÊTE DE CLAUDE DE GIVRAY
(FRANCE/1961/90’/35MM)
AVEC EDDIE CONSTANTINE, ALEXANDRA STEWART, GEORGES
POUJOULY.
François Truffaut scénariste.
lu 13 oct 17h
VINCENT MIT L’ÂNE DANS UN PRÉ DE PIERRE ZUCCA
(FRANCE/1975/107’/35MM)
AVEC MICHEL BOUQUET, BERNADETTE LAFONT, FABRICE
LUCHINI. je 16 oct 21h15
DOCUMENTARIES
FRANÇOIS TRUFFAUT OU L’ESPRIT CRITIQUE
DE JEAN-PIERRE CHARTIER (FRANCE/1965/64’/VIDÉO)
lu 13 oct 21h
MA NUIT CHEZ MAUD DE ERIC ROHMER
(FRANCE/1969/110’/35MM)
François Truffaut coproducteur.
ve 10 oct 14h30
MATA HARI, AGENT H 21 DE JEAN-LOUIS RICHARD
(FRANCE-ITALIE/1964/98’/35MM)
François Truffaut scénariste.
je 30 oct 14h30
Jeanne Moreau. La mariée était en noir, 1968
1968 © Ma rilu Pa rolini
PARIS NOUS APPARTIENT DE JACQUES RIVETTE
(FRANCE/1958/140’/35MM)
François Truffaut coproducteur.
di 26 oct 15h30
FRANÇOIS TRUFFAUT, PORTRAITS VOLÉS
DE SERGE TOUBIANA ET MICHEL PASCAL
(FRANCE/1992/93’/VIDÉO)
lu 13 oct 19h
FRANÇOIS TRUFFAUT, UNE AUTOBIOGRAPHIE
DE ANNE ANDREU (FRANCE/2004/78’/VIDÉO
je 23 oct 20h3
Ca therine Deneuve. Le Dernier Métro, 1980
Fa nny Arda nt et Géra rd Depa rdieu. La Femme d’à côté 1981
1980 © Jean-Pierre Fizet
1981 © Alain Venisse
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“After François Truffaut: Imprints and Influences”
(10 October – 16 November 2014)
“Something could happen to French cinema, if… if it were at last recognised that we miss François Truffaut”.
The incantatory statement came from a very young man, not yet a film-maker himself, and not even entirely a
critic. It is the first sentence of his first published text (entitled, “Teenage Fever”), in Issue 5 of the magazine
Trafic. Serge Bozon was not quite twenty yet, when he urged contemporary French cinema to remember
Truffaut. When the text came out, in the first weeks of 1993, the man who made Les Quatre Cents Coups had
been dead for less than ten years and, while his prestige continued to run high, his influence and the way he
irrigated contemporary French cinema had faded out somewhat. As the 1990s opened, the still-living master of
French cinema was Maurice Pialat. With Van Gogh, he was doubly hoisted to the peaks of French cinema, by
enthralled reviews and massive audiences. Following on the heels of the triumphant Nuits fauves, by Cyril
Collard, and subsequent to the promising releases by first-timers Cédric Kahn (Bar des rails) and Xavier
Beauvois (Nord), Pialat’s approach – the ruggedness and his distinctive rendering of naturalism – became a
fount from which many of the most talented budding film-makers would draw.
Yet, though he did not necessarily acknowledge it and though he did not refrain from criticizing Nouvelle Vague
film-makers, Pialat does owe something to Truffaut. Not only because the latter eagerly funnelled his energies
into producing the former’s first full-length feature (a joint endeavour that was anything but smooth sailing and
which ended in a major rift), but above all because, even though he fought the idea tooth and nail, even though
Pialat’s film was deliberately developed as a negative of Truffaut’s (no lyricism, no identification, etc.),
L’Enfance nue was the heir to Les Quatre Cents Coups – if only in a certain understanding it contains of what it
means to release a first art-house film in France (an unprecedented format, except in a sense by Vigo): the
same kind of intertwining between the way the rebel adolescent voices his message and an affirmation of the
self through autobiographical recollection. Les Quatre Cents Coups lays down the model: the best-suited plot
for a first feature film would be the story of an adolescent who (like the film-maker starting out) is finding his
bearings for the first time.
This autobiographical legacy would be plumbed to its depths by the generation that came just after the
Nouvelle Vague. It is threaded into the first Eustache films, can be found to a certain extent in Les Mauvaises
Fréquentations, much more prominently in Le Père Noël a les yeux bleus (and not only because Eustache
turned to Jean-Pierre Léaud for the first time, making him into his alter ego as Truffaut had). It also courses
through Jacques Doillon’s films. In the latter, Truffaut’s influence plays out in many forms. It can be seen in
film-maker’s decision to stop leaving his actors the chance to show themselves as they wish and, on some
occasions, to come before the camera himself (not attempting to behave like an actor, but rather to behave
like a film-maker - L’Enfant sauvage, La Chambre verte, La Nuit américaine in one case; La Femme qui pleure
[The Weeping Woman] or La Fille de 15 ans [The 15-Year Old Girl] in the other). It can also be found in a
certain way of filming children at their own level, dream up childhood immersion fictions, where the adult
world no longer rings out on screen, except in muted echoes (L’Argent de poche versus Le Jeune Werther
[Young Werther] or Un sac de billes [A Bag of Marbles]).
Summarily put, it could be said that, in this generation, there are those who chose to hold on to the rawness
(autobiography, direct style, almost-documentary recording of childhood gestus, etc.) and those who picked up
more on the burning intensity: the Romanesque, the incandescent love relationships and the catharsis of
fiction. Truffaut can be found in the excessive drive displayed by lovers in André Téchiné’s films, sometimes in
a near-literal quote (Les temps qui changent recomposes the couple from Le dernier metro, projecting it into
the fiction of romantic resurgence in La femme d’à côté; L’homme qu’on aimait trop turns the young Agnès Le
Roux, whose death came too early, into a new Adèle H., writing love letters as though in a trance before the
camera and entirely uninterested in the indifference with which her monstrous passion is met. Truffaut can
also be found in Jean-Claude Brisseau’s Noce Blanche [White Wedding], which also makes abundant reference
to La femme d’à côté (the use of Véronique Silver in tragic chorus form; a scene of passionate effusion that
takes place in public and sparks scandal, rushing the characters to their downfall), and has over the years
become the invariable talisman toward which all tales of romantic absolutism build (one recent example is Un
amour de jeunesse [Goodbye, First Love], by Mia Hansen Løve, which meanders down the tortuous and manyhued path of passion as experienced at different points in life).
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From the second half of the 1990s on, Truffaut returned on the wings of a new trend: fetish. Film-makers born
in the 1960s began to cut up, take apart and anamorphosise specific figures from his work, as he had done
himself with Hitchcock’s work (La mariée..., La Sirène...): the age of Truffaut-Mannerism had begun, and would
see directors such as Arnaud Desplechin offer up his most Baroque deflagrations. In Esther Kahn, he would
mesh a coming-of-age novel influenced by L’Enfant sauvage, using the iris dissolves much-loved by Truffaut,
and a drop of blood on the sheets that would gradually take up the entire surface of the screen, as in Les Deux
Anglaises. In Rois et reine [Kings and Queen], he had Maurice Garrel read a letter facing the camera exactly as
Mlle Brown had done in Les Deux Anglaises (a technique which Pascale Ferran would subsequently put to use
in Lady Chatterley). Both Desplechin and Ferran also exemplify the liking for the omniscient narrator of the
classical novel, unfurling the story in the imperfect tense – a device which Valérie Donzelli would later take up
in La Reine des pommes [Queen of Hearts] and La guerre est déclarée [Declaration of War]. In Les Sentiments,
Noémie Lvovsky re-established the topography of adultery in La Femme d’à côté (two adjacent houses, etc.).
The same geographer’s precision, the pain-staking taste for carving out territories and crafting them into
emotional landscapes in Tirez la langue, mademoiselle [Bad Blood] by Axelle Ropert. Sometimes, the nods of
the head are surreptitious and slightly disguised (Denis Lavant’s dash set to Bowie in Mauvais sang is probably
a decal of that of Jeanne Moreau in Jules et Jim – the same striated background can be found). Sometimes,
there is less pastiche than there is dialectical response: Olivier Assayas’s Irma Vep converses with La Nuit
américaine – and shifts Léaud from his place as trouble-making actor to that of self-defeated film-maker.
Truffaut’s work also burgeons in cinema across the world, however: in Tarantino (Kill Bill, unadmittedly a
remake of La mariée était en noir), Noah Baumbach and Wes Anderson (e.g., Frances Ha and Fantastic Mr Fox
which use original scores by Delerue and Duhamel), Tsai Ming Liang (holding a funeral ceremony flanked by
Truffaut icons: Baye, Ardant, Leaud in Visage), Hong Sang-soo...
Twenty years ago, a young critic finally acknowledged that Truffaut was missed. He is no longer so. He goodnaturedly haunts the best of world cinema.
JEAN-MARC LALANNE
Les Sentiments de Noémie Lvovsky
La Reine des pommes de Valérie Donzelli
EVENTS SCHEDULE
lu 03 nov 14h30
DANS LA COUR DE PIERRE SALVADORI
FRANCE/2014/97’/DCP
di 19 oct 21h45
MAUVAIS SANG DE LEOS CARAX
FRANCE/1986/125’/35MM
sa 01 nov 21h45
DANS PARIS DE CHRISTOPHE HONORÉ
FRANCE/2006/90’/35MM
ve 24 oct 21h
LES MAUVAISES FRÉQUENTATIONS :
DU CÔTÉ DE CHEZ ROBINSON DE JEAN
EUSTACHE FRANCE/1963/42’/35MM
Suivi de LES MAUVAISES
FRÉQUENTATIONS : LE PÈRE NOËL A
LES YEUX BLEUS DE JEAN EUSTACHE
FRANCE/1966/47’/35MM
di 12 oct 21h30
ESTHER KAHN
DE ARNAUD DESPLECHIN
FRANCE/1998/142’/VOSTF/35MM
di 16 nov 21h30
IRMA VEP DE OLIVIER ASSAYAS
FRANCE/1996/99’/VOSTF/35MM
di 26 oct 21h30
LE JEUNE WERTHER
DE JACQUES DOILLON
FRANCE/1992/94’/35MM
ve 31 oct 17h
LADY CHATTERLEY DE PASCALE
FERRAN
BELGIQUE-FRANCE-GRANDEBRETAGNE/2005/158’/35MM
NOCE BLANCHE
DE JEAN-CLAUDE BRISSEAU
FRANCE/1989/92’/35MM
me 05 nov 17h00
Dans Paris de Chris tophe Honoré
LES SENTIMENTS
DE NOÉMIE LVOVSKY
FRANCE/2002/94’/35MM
sa 18 oct 21h30
LES TEMPS QUI CHANGENT
DE ANDRÉ TÉCHINÉ
FRANCE/2004/96’/35MM
di 02 nov 21h45
TIREZ LA LANGUE, MADEMOISELLE
DE AXELLE ROPERT
FRANCE/2012/102’/DCP
ve 17 oct 21h15
TONNERRE DE GUILLAUME BRAC
FRANCE/2012/105’/DCP
ve 31 oct 21h30
LES REGRETS DE CÉDRIC KAHN
FRANCE/2008/105’/35MM
ve 10 oct 19h00
UN AMOUR DE JEUNESSE
DE MIA HANSEN-LØVE
FRANCE-ALLEMAGNE/2010/110’/DCP
sa 01 nov 16h45
LA REINE DES POMMES
DE VALÉRIE DONZELLI
FRANCE/2009/84’/35MM
me 22 oct 21h
UNE AUTRE VIE
DE EMMANUEL MOURET
FRANCE/2012/95’/DCP
me 29 oct 21h30
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TO EACH HIS OWN TRUFFAUT
A NATIONWIDE NATIONAL PROJECT
Eager to foster re-discovery of Truffaut’s work, La Cinémathèque française has initiated a project for
15 elementary and secondary schools across the nation.
In an invitation to learn about the films Truffaut made in
their regions, students will be paid a visit by a programme
docent – a former Truffaut associate, a film-maker or a
critic: Martine Barraqué, Nathalie Baye, Denys Clerval, Dani,
Yann Dedet, Claude de Givray, Andréa Ferréol, PierreWilliam Glenn, Sabine Haudepin, Thierry Jousse, Christine
Pellé, Axelle Ropert, Jean-François Stévenin, Alexandra
Stewart, Rebecca Zlotowski and others.
They will all come together in Paris on Thursday 18
December 2014 for a one-time event dedicated to François
Truffaut, including exhibition tours, film projections and
workshops.
400 students, 15 docent, 15 cultural institutions
across the nation.
Aix-en-Provence (in Bouches-du-Rhône), Brive-la-Gaillarde
(in Corrèze), Chambéry (in Savoie), Chef-Boutonne (in
Vienne), Juvisy sur Orge (in Essonne), La Rochelle (in
Charente-Maritime), Montpellier (in Hérault), Mutzig (in BasRhin), Pessac (in Gironde), Rive-de-Gier (in Loire), Thiers (in
Puy-de-Dôme), Saint-Astier (in Dordogne), Toulouse (in MidiPyrénées), Tulle (in Corrèze), Valence (in Drôme).
L’Argent de poche, 1975 ©Hélène Jeanbreau
L’Argent de poche, 1975 ©Hélène Jeanbreau
ONLINE AT CINEMATHEQUE.FR
FRANÇOIS TRUFFAUT, A DIARY
A website that reads like a diary – 15 chapters, each of which marks a turning point in the lifetime and career
of François Truffaut, and reveals the breadth of his archives in the collections of La Cinémathèque française. His
childhood, passion for cinema, journalism, film shoots or music will be broached successively through a
narrative replete with photographs, excerpts, letters, archives and never-before-released testimonials.
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FRANÇOIS TRUFFAUT: A SYMPOSIUM
1.5 DAYS DEDICATED TO WRITING AS SEEN BY FRANÇOIS TRUFFAUT,
WRITING IN ALL ITS FORMS
Thursday 6 November – 2:30 PM / 6:30 PM
Friday 7 November – 10:00 AM / 1:00 PM > 2:30 PM / 6:30 PM
François Truffaut, more than other film-makers, saw writing as a be-all and end-all: it was a way to reach his
own thoughts and understand the world, a special way of “corresponding” with others, a way of making films
and subject every tale to the risks of cinema, something particularly important to a man who had taken a stand
against the tendency shown by some film-makers to make literature their servant rather than to serve it.
This encompassed all forms of writing: criticism, literature, correspondence, scripts, music, film editing as
writing, writing as occurs through actors’ bodies, writing on the very surface of a film…
PROGRAMME
Conferences (Noël Herpe, Axelle Ropert, Serge Toubiana…), Readings (excerpts from correspondence with
Helen Scott), Dialogues (with Jean Gruault and Arnaud Desplechin), Round Tables with former
Truffaut associates: Pierre-William Glenn (Director of Photography), Dominique Le Rigoleur (On-Set Assistant
and Photographer), Christine Pellé (Script), Caroline Champetier (Director of Photography), Yann Dedet (Film
Editor), Jean-François Stévenin (Actor, Film-Maker) and contemporary film-makers.
Symposium Agenda under development, for more information, visit www.cinematheque.fr
EVENING SCREENINGS
FAHRENHEIT 451
(GREAT BRITAIN/1966/112’/DCP)
Digital high-definition version restored by MK2.
Thursday 06 November 20h30
LA NUIT AMÉRICAINE
(FRANCE-ITALY/1972/115’/35MM)
Friday 07 November 20h30
Rates:
Half-day: All audiences 4€ / ‘Libre Pass’ holders: open entry
Truffaut Days + 2 screenings package: €20
La Nuit américaine de François Truffaut, 1973. Photographie Pierre Zucca
© Succession Pierre Zucca .
A HANDS-ON CINEMA WORKSHOP
A Hands-On Cinema Workshop will echo the place of writing in François Truffaut’s work: a 3-day session
structured around the question of the script, on 29-31 October 2014.
Price: €150 / ‘Libre Pass’ holders: €120
FOR FILM SCHOOL STUDENTS
Wednesday 5 November: A one-day session for film school students, structured around the exhibition and
François Truffaut’s archives.
The Film Library will be holding a one-day workshop for film students (at the Licence 3 and Master’s levels)
around the François Truffaut archives at La Cinémathèque.
This session is aimed at introducing them to different ways of using and showing off archives (exhibition,
catalogue, publications, film, etc.). Carole Le Berre, the author of François Truffaut au travail [François Truffaut
at Work] (Cahiers du cinéma, 2004), will give a conference detailing the film-maker’s work method.
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NEWS
LE DERNIER MÉTRO RESTORED
LE DERNIER MÉTRO
(DIGITAL VERSION RESTORED IN ULTRA HIGH-DEFINITION)
15 October 2014, in the theatre
Unreleased version in 4K digital presented at Cannes Classics
At the latest Cannes Festival.
Catering at MK2 and La Cinémathèque française,
With the support of
Fonds Culturel Franco-Américain - DGA - MPA - SACEM - WGAW
(Distribution Diaphana, for MK2)
THEATRE RE-RELEASE
OF FRANÇOIS TRUFFAUT RETROSPECTIVE
22 October: Theatre re-release of François Truffaut Retrospective, following the exclusive run at La
Cinémathèque française.
(Distribution Diaphana, for MK2)
PRESS CONTACT MK2
Monica Donati
Phone +331 43 07 55 22 / [email protected]
THE COMPLETE FILM COLLECTION ON DVD
FRANÇOIS TRUFFAUT,
THE COMPLETE COLLECTION
For the first time, a complete 21-DVD box-set
containing all 21 of François Truffaut’s films.
TF1 Vidéo and MK2 present the first complete
DVD box-set containing François Truffaut’s 21
feature films, including the never-beforereleased Une belle fille comme moi, offered for
the first time in France. A complete collection of
Truffaut’s cinema along with numerous bonuses
and an exclusive introductory text by Serge
Toubiana.
Available from 1 October.
PRESS CONTACT
Thierry VIDEAU
Phone +331 40 15 92 02 / [email protected]
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PUBLICATIONS
On sale at La Cinémathèque Française’s bookshop.
Exhibition Catalogue
Directed by Serge Toubiana.
A Flammarion/La Cinémathèque française joint publication
240 pages - €35.50
François Truffaut
Antoine de Baecque / Serge Toubiana
Published by Gallimard / Collection Folio, No. 3529
880 pages - €13.30
PRESS CONTACT:
Published by Gallimard David Ducreux
Phone: +331 49 54 16 70 / Mobile: +336 62 20 66 24 / Mail: [email protected]
François Truffaut au travail [François Truffaut at Work]
Carole Le Berre
Les Cahiers du Cinéma 2014
An essential work, now re-released, offers a selection of never-before-seen documents to
enable a better understanding of Truffaut’s work and work methods.
320 pages - €35
Release date: 9 October 2014
Hors-série François Truffaut [Special Issue – François Truffaut)
Headed by Carole Le Berre
Les Cahiers du Cinéma 2014
Release date: October 2014
PRESS CONTACT: LES CAHIERS DU CINEMA
Caroline Bourrus
Phone: +336 12 21 55 00 / [email protected]
MUSIC
Le monde musical de François Truffaut
[The Musical World of François Truffaut]
The Complete Collection
6-CD Box Set in the collection
Ecoutez le cinéma ! created by Stéphane Lerouge
(Universal Music Classics & Jazz France)
7 hours of music, classics, rarities and re-interpretations.
PRESS CONTACT
Emmanuelle Buffard
Phone +331 44 41 92 47 / [email protected]
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ARTE PRESENTS
FRANÇOIS TRUFFAUT CYCLE
In early November, Arte will dedicate three evenings to Truffaut, including full-feature and short films.
The programme Court-Circuit will also show François Truffaut’s Antoine et Colette and one of Axelle Ropert’s
unreleased short films. In addition, many exclusive videos, unreleased articles and activities will be run on
social networks, in conjunction with the arte.tv cycle.
SWEDING FILM CONTEST ON ARTE.TV
Court-circuit, Arte’s programme on short films, will invite Internet users to produce their own parody of a
legendary scene from Les Quatre Cents Coups. The best submissions will be broadcast on arte and at a special
screening at La Cinémathèque française in January.
Complete information at cinema.arte.tv/fr
PRESS CONTACT:
Agnès Buiche Moreno / Cécile Braun
+331 55 00 70 47 / 73 43
[email protected] / [email protected]
WRITING CONTEST WITH TÉLÉRAMA
LETTERS TO THE WOMAN NEXT DOOR
In tribute to Truffaut as a writing devotee, Télérama and La Cinémathèque française will be running this special
contest.
The judges’ panel, chaired by writer David Foenkinos and including Olivier Chaudenson (Director, Maison de la
Poésie and Paris en toutes lettres), Nathalie Crom and Pierre Murat (Télérama journalists), will select the 3
most captivating “letters to the woman next door”. They will be published in the 12 November issue of
Télérama.
Laurent Lafitte, who unforgettably played Fanny Ardant’s lover in Les Beaux Jours, will read a selection of the
best letters at a special evening event, during the Paris en toutes lettres Festival (14-23 November), at La
Maison de la Poésie.
The letters (3,000 signs maximum, including space) should be sent to the following address by 19 October:
[email protected]
Fa nny Arda nt et Géra rd Depa rdieu dans La Femme d’à côté 1981
Photographie Alain Venisse © Alain Venisse
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FOR YOUNG AUDIENCES
The François Truffaut exhibition specially for children is truly unique! François Truffaut’s
work is rare and striking in the way it offers young audiences, from very early in childhood,
to build their own personal film selection that can include anything from Les Quatre Cents
Coups to L’Argent de poche, L’Enfant sauvage or La Nuit américaine.
EXHIBITION TRAIL SPECIALLY FOR CHILDREN, DESIGNED BY TÉLÉRAMA ENFANTS
Brochure available on-site or at cinematheque.fr
A “HIDE-AWAY” EVENT PROGRAMME
(10 October – 16 November 2014)
So that the exhibition experience can be extended into the theatre, Young Audiences Screenings will be held,
featuring François Truffaut’s films on childhood, along with a selection of other programmes from “The Films
of his Life”, aimed at younger audiences and teeming with hidden glances, places of refuge and covert
situations and emotions.
For more information, visit: Cinematheque.fr
Les Quatre Cents Coups de Fra nçois Truffaut
1959 © André Dino / DR.
L’Argent de poche de François Truffaut
1975 ©Hélène Jeanbreau
L’Enfant sauvage de François Truffaut. 1970
Photo Pierre Zucca © Syl vie Quesemand-Zucca
GUIDED TOURS FOR FAMILIES for children ages 9 to 11
Elementary school level A Tour with a Tale
Children visiting the exhibition with their parents can sign up for the tour run by storyteller Julien Tauber who,
whisking them away from the public eye, will tell them a tale inspired by the childhood of François Truffaut.
Sunday 12 Oct 11 AM – 12:30 PM
Sunday 23 Nov 11 AM - 12:30 PM
Sunday 25 Oct 11 AM - 12:30 PM
Sunday 07 Dec 11 AM - 12:30 PM
Sunday 16 Nov 11 AM - 12:30 PM
Reservation recommended. Adults: €12, Children: €6.5
TOUR-WORKSHOPS
KINOKIDS TOUR-WORKSHOP
for children ages 6-11
MAXIKINO TOUR-WORKSHOP
for children ages 11-13
Elementary school level
François Truffaut to the Letter
Lower secondary school level, “The Doinel Saga”
Guided tour + screening of film excerpts with
comments
Following a tour of the François Truffaut Exhibition,
participants will be introduced to other films through
excerpts and, building from these, dream up and record
the narrator’s voice.
Sat 18 Oct 2:30 PM – 5 PM
Sat 8 Nov 2:30 PM - 5 PM
Sat 22 Nov 2:30 PM - 5 PM
Sat 7 Dec 2:30 PM - 5 PM
Sat 13 Dec 2:30 PM - 5 PM
Price: €12 per child
A journey like no other into the history of cinema:
participants will watch Antoine Doinel grow up and learn
to love, over the course of 5 films and twenty years.
Jean-Pierre Léaud, Truffaut’s imaginary alter ego, gives
his body and voice over to the character. The films in the
“saga” (Les Quatre Cents Coups, Antoine et Colette,
Baisers volés, Domicile conjugal, L’Amour en fuite) are an
invitation to reflect on how a character comes into being
and is embodied over the course of several films.
Sat 29 Nov 2:30 PM – 5:30 PM
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TOUSSAINT HOLIDAY WORKSHOP
IN SECRET for children ages 9 to 11
Cinema enjoys slipping secret objects into scenes, inviting viewers to share in them and the intimate exchange
that takes place with the characters in that instant. Using François Truffaut’s films as the starting point, and
building from the Young Audiences’ session held on Wednesday 22 October, this workshop will invite
participants to stage a short film in which a secret will be exchanged.
Wed 22 Oct 10 AM - 5 PM
Thu 23 Oct 10 AM - 5 PM
Fri 24 Oct 10 AM - 5 PM
Price: €45 per child
WE’RE ALL FILM-MAKERS DAY
AROUND L’ARGENT DE POCHE for children ages 7-9
In preparation for the special screening of François Truffaut’s L’Argent de poche, participants will stage an film
short scenes inspired by the film.
Thursday 31 October, 10:00 AM to 4:30 PM
Price: €18 per child
A SUNDAY WITH…
FRANÇOIS TRUFFAUT ages 8 and up
Around La Nuit américaine in which François Truffaut, an actor, plays the part … of a director!
MORNING
Tour and workshop
Following a guided tour of the exhibition for the whole family, children will take part in a workshop and be
introduced to the techniques used in “La Nuit Américaine”, or how to make night fall smack in the middle of
the day.
Sunday 12 October, 11 AM to 12:30 PM and 1:30 PM to 2:30 PM
AFTERNOON
Screening of LA NUIT AMÉRICAINE, by FRANÇOIS TRUFFAUT
Sunday 12 October, 3 PM
Full-day price: €20 per child, accompanied by an adult
L’Argent de poche, 1975 ©Hélène Jeanbreau
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