Goodbye First Love. Photo: Carole Bethuel
All Is Forgiven
Things to Come. Photo: Ludovic Bergery, courtesy Sundance Selects
Father of My Children. Photo: Karine Arlot
The astounding performance of Marie Rivière as a lonely woman searching for company—yet unwilling to compromise—grounds this airy, ephemeral summertime tale. “Rohmer’s ultimate masterwork” (Andrew Sarris).
35mm Archival Print
A worker’s family goes about their daily life while a labor strike looms first in the distance, and then all too close, in Bo Widerberg’s devastating retelling of an infamous 1931 massacre.
A Parisian DJ strives to maintain a semblance of normality in the dizzy world of global club culture. Cameos by Daft Punk and other legends enhance this “perfect mix of music and melancholia” (The Guardian).
Hansen-Løve’s assured debut feature is a generous, unflinching look at a loving family gradually undone by addiction. Winner of France’s Louis Deluc Prize for Best First Film.
Imported 35mm Print
A jazz musician and new father winds up in jail to satisfy his wife’s upwardly mobile desires; years later, she’s remarried, and he’s an ex-con trying to get back into his son’s life. An achingly moving portrait of paternal love and desperate measures.
An indie film producer juggles vocation, familial demands, and impending financial ruin in this bittersweet portrait of complex relationships in the world of cinema and beyond, inspired by the real life of producer Humbert Balsan.
BAMPFA Student Committee Pick
A young woman moves beyond a teenage love affair in Hansen-Løve’s semiautobiographical film, both a nuanced portrayal of evolving relationships and a study of the creative power generated through love.
Imported 35mm Print
Hou Hsiao-hsien pays tribute to Yasujiro Ozu in this meditative look at life and love in contemporary Tokyo, starring Tadanobu Asano. “The plot is spare, but the sounds, images, and ambience are indelible” (Jonathan Rosenbaum).
Philosophy professor Isabelle Huppert competently juggles career and family—until an unexpected series of events forces her to rethink her entire life—in Hansen-Løve’s festival favorite. “Huppert is extraordinary” (Time).
Jean-Pierre Léaud as a castaway from the sixties and the sexual revolution, waffling between two women. “The greatest French film of the ’70s” (Cahiers du cinéma). “A searing masterpiece” (Chicago Reader).