A tribute to an actress who contributed her profound intelligence, professional expertise, and sublime beauty to some of the most memorable films of the twentieth century, including Chantal Akerman’s Jeanne Dielman and Alain Resnais’s Last Year at Marienbad.
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Digital Restoration
BAMPFA Student Committee Pick
Delphine Seyrig plays Dr. Mabuse, the unscrupulous president of a multinational press conglomerate scheming up a new plan for world domination, in Ottinger’s Langian exploration of media manipulation.
It’s déjà vu all over the place in Resnais’s classic of the French New Wave, an elegant, labyrinthine puzzle written by Alain Robbe-Grillet and starring Delphine Seyrig.
The repetitive domestic routines of a bourgeois widow (Delphine Seyrig) become a source of Hitchcockian suspense in Akerman’s tour de force.
Delphine Seyrig stars as a widow haunted by a former love, as her son is haunted by memories of the Algerian War, in this film from the director of Last Year at Marienbad.
Delphine Seyrig is the soulful center of Akerman’s exuberant mid-eighties pop musical, set in the hyper-artificial confines of a subterranean shopping mall.
Digital Restoration
This charming adaptation of a fairy tale by Charles Perrault (creator of Cinderella) has been called Demy’s “grand synthesis of Cocteau and Minnelli.” Catherine Deneuve, Jean Marais, and Delphine Seyrig star.
Jean-Pierre Léaud stars as Truffaut’s quintessential dreamer Antoine Doinel, flitting through 1968 Paris in search of love and livelihood—and finding the alluring Delphine Seyrig.
Seyrig’s video dossier compiles firsthand accounts from actresses—including Jane Fonda, Maria Schneider, Shirley MacLaine, Jill Clayburgh, and Juliet Berto—on the frustrations and limitations of their métier, still sadly relevant today. With Beat classic Pull My Daisy.
Imported 35mm Print
A diplomat’s beautiful wife (Delphine Seyrig) suffers “colonial sickness” in Duras’s evocation of colonial India and the gap between rich and poor, colonist and occupied. “Seyrig is marvelous to contemplate” (NY Times).