Movies on the Big Screen as They Were Meant To Be Seen.
LE DIABLE PROBABLEMENT
Olive Films/Film Desk,
Dir: Robert Bresson
The most controversial film of Bresson’s career, LE DIABLE PROBABLEMENT was off-limits to viewers under the age of 18 in France as an incitement to suicide. A film that caused Rainer Werner Fassbinder to threaten to walk off the Berlin Film Festival jury if his support for it was not made public, it traces the last six months in the life of a young Parisian in search of his own demise, who rejects the conventional solutions offered by politics and religion, saying “My sickness is that I see clearly.” In French with English subtitles.
Dir: Nicolas Provost
“Amadou (Issaka Sawadogo), a swaggering bull of a man, makes his way from an unspecified African country to work illegally in Europe. He finds a tough construction job in Brussels…Amadou is a man on the make, both financial and sexually, so it isn’t long before he’s engaged in a steamy affair with Agnès (Stefania Rocca), a sophisticated, white European woman. When this liaison turns sour, Amadou’s fortunes quickly deteriorate. A chap who has previously been a potentially model EU citizen - hard-working, caring, conscientious, intelligent, resourceful - spirals into bloodshed and murder…Slickly accomplished and anchored by an outstanding central performance by the imposing Sawadogo, this offbeat picture will be a surefire talking point at festivals, especially those also showing Steve McQueen’s SHAME, with which it happens to share certain key thematic and visual parallels.” - The Hollywood Reporter. In French with English subtitles.
Dir: Ulu Grosbard
Circa 1948, Robert Duvall is a hard-nosed cop and Robert De Niro is his brother, an enterprising monsignor rising behind the scenes with high-powered Catholic members of Los Angeles’ political elite. When a young actress is gruesomely murdered (à la the Black Dahlia), Duvall believes one of De Niro’s high-profile parishioners, pimp-turned-building contractor Jack Amsterdam (Charles Durning), may be involved. Issues of family, guilt, moral responsibility and hypocrisy collide in screenwriter John Gregory Dunne and Joan Didion’s screenplay from Dunne’s novel. Director Ulu Grosbard focuses on character and the personal terrain of missed emotional and spiritual opportunities, rather than making a standard whodunit, something that led critics to damn the movie with faint praise. One of the great lost films of the 1980s.