"What does Cinema mean to me? It means that I am able during the filming to attempt the impossible, which for me is the sincere trust which I place in emotions. The emotions of men. It is the herculean and tender task of saying what I feel is true without words, like the songs of Mendelsohn."-G.M., 1953In viewing Markopoulos's early films, one can mark the beginning of the formal and artistic processes that continue throughout his lifetime of work-the use of unconventional narration and formal experimentation to achieve a "new narrative film form," a more personal style of filmmaking, and the incorporation of the different themes of Greek myth and homosexual love in order to create what he terms "my American mythology." Tonight we present the trilogy Du sang, de la volupté et de la mort. In the classic first part, Psyche, "one sees various viewpoints on an encounter in which the heroine experiences great difficulty in giving voice to her sensuality." (Yann Beauvais) Lysis "ponders the nature of friendship, as perceived by a man dealing with the conflict between society and his homosexuality," and Charmides "is based on the Platonian dialogue in which Socrates asks who is the most beautiful boy in Athens and then proceeds to give his view on temperance." (Matthew Yokobosky) The program also includes The Dead Ones and Flowers of Asphalt.-Jennifer MeehanDu sang, de la volupté et de la mort (Of Blood, Pleasure and Death): Psyche (25 mins, Color), Lysis (30 mins (corr: 25 mins ), Color), Charmides (15 (corr 10) mins, Color) (16mm). Flowers of Asphalt (U.S., 1951, 7 mins, Silent, B&W, 16mm). The Dead Ones (U.S., 1949, 28 mins, B&W, 35mm).