椰林月 (MOON OVER MALAYA) (Singapore, 1957, Chun Kim 秦剑 & Chor Yuen 楚原)

椰林月 (MOON OVER MALAYA) (Singapore, 1957, Chun Kim 秦剑 & Chor Yuen 楚原)

In his final film SOLEIL, Pierre Clémenti amalgamates the stylistic elements of his previous film (and sole feature), À L'OMBRE DE LA CANAILLE BLEU, with influences from his poetry and earlier work as a filmmaker. Via dramatic reenactment, Clémenti reflects on his unlawful arrest in 1972 for drug possession, whereupon he was imprisoned, without trial, for 17 months. The film also features extensive footage of Clémenti’s family and children, including his wife Margareth and son Balthazar.

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唐山阿嫂 (CHINA WIFE) (Singapore, 1957, Chan Man & Chor Yuen 楚原)

In 唐山阿嫂 (CHINA WIFE), Keung Chung-ping plays Ah-gau, an impoverished man who leaves his wife, So-ching (Nam Hung), and baby in Macau to travel to Southeast Asia and join his cousin (Patrick Tse) in search of better employment. A series of fortunate events propel him into high society, and soon he falls in love with a tycoon’s daughter, Ming-chu (Patsy Kar Ling).

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SOLEIL (France, 1988, Pierre Clémenti)

SOLEIL (France, 1988, Pierre Clémenti)

In his final film SOLEIL, Pierre Clémenti amalgamates the stylistic elements of his previous film (and sole feature), À L'OMBRE DE LA CANAILLE BLEU, with influences from his poetry and earlier work as a filmmaker. Via dramatic reenactment, Clémenti reflects on his unlawful arrest in 1972 for drug possession, whereupon he was imprisoned, without trial, for 17 months. The film also features extensive footage of Clémenti’s family and children, including his wife Margareth and son Balthazar.

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À L'OMBRE DE LA CANAILLE BLEU (France, 1985, Pierre Clémenti)

À L'OMBRE DE LA CANAILLE BLEU (France, 1985, Pierre Clémenti)

À L'OMBRE DE LA CANAILLE BLEU (English translation: IN THE SHADOW OF THE BLUE RASCAL) is set in the underbelly of “Nécrocity,” a city of nightly terrors. In this fictionalized Paris, fueled by heroin and paranoia, an anarchist group (played by Pierre Clémenti’s inner circle) — whose mastermind is a villainous military leader played by Clémenti himself — tries to keep one step ahead of the grip of state power. After 300 kilos of heroin goes missing, a significant wave of crime is catalyzed.

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LA DEUXIÈME FEMME (France, 1978, Pierre Clémenti)

LA DEUXIÈME FEMME (France, 1978, Pierre Clémenti)

Dense with hallucinatory visuals and frenetic montages, LA DEUXIÈME FEMME presents a filmic whirlwind through Pierre Clémenti’s family life, as well as his life on film sets as an actor. The title of the piece refers to the artist’s second wife, Nadine, but it also functions as a filmic love letter to his mother, and to artists and Warhol superstars Nico and Viva.

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SOUVENIRS, SOUVENIRS (France, 1967-78, Pierre Clémenti)

SOUVENIRS, SOUVENIRS (France, 1967-78, Pierre Clémenti)

SOUVENIRS, SOUVENIRS consists of some of the earliest footage that Pierre Clémenti ever shot. It is the closest of his works to a traditional home movie, although its fleeting shots of Catherine Deneuve on set with Michel Deville and Philippe Garrel during the making of LE LIT DE LA VIERGE are accompanied by bursts of color that would become Clémenti’s signature as an avant-garde cineaste.

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POSITANO (France, 1968, Pierre Clémenti)

POSITANO (France, 1968, Pierre Clémenti)

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. Not unlike Neptune, Pierre Clémenti’s POSITANO embodies a total love in which family and friends are seized in the same poetic field. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became, in 1968, a meeting place for the French “underground.” Clémenti lived in Pardo and Aumont’s house for some time and, in POSITANO, created images of dazzling sensuality.

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LA RÉVOLUTION N'EST QU'UN DÉBUT. CONTINUONS LE COMBAT (France, 1968, Pierre Clémenti)

LA RÉVOLUTION N'EST QU'UN DÉBUT. CONTINUONS LE COMBAT (France, 1968, Pierre Clémenti)

Half family photo album, half “ciné-tract,” Pierre Clémenti’s LA RÉVOLUTION N'EST QU'UN DÉBUT. CONTINUONS LE COMBAT follows the actor and filmmaker during the making of Bernardo Bertolucci’s 1968 dramatic feature PARTNER in Italy. In the midst of production, Clémenti travels extensively between Rome and Paris — where the May ‘68 protests were taking place — thereby leading a double life as both artist and activist.

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NEW OLD: OU LES CHRONIQUES DU TEMPS PRÉSENT (France, 1979, Pierre Clémenti)

NEW OLD: OU LES CHRONIQUES DU TEMPS PRÉSENT (France, 1979, Pierre Clémenti)

NEW OLD: OU LES CHRONIQUES DU TEMPS PRÉSENT presents footage that Pierre Clémenti captured over the course of a decade, chronicling his wanderings between street scenes, movie sets, and drug subcultures, and offering an accelerated global tour through various facets of the 1960s and ‘70s counterculture.

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THE TUXEDO THEATRE (US, 1968, Warren Sonbert)

THE TUXEDO THEATRE (US, 1968, Warren Sonbert)

Filmed in 1968, Warren Sonbert considered THE TUXEDO THEATRE an early version of — or “dress rehearsal” for — the film he would ultimately regard as his magnum opus, 1973’s CARRIAGE TRADE. As in CARRIAGE TRADE, Sonbert traveled around the world to create a tightly-edited work of polyvalent montage in THE TUXEDO THEATRE. It was his first foray into this style of filmmaking following a series of short films, set to the popular music of the time, that documented his contemporaries (including Andy Warhol’s Factory scene) in mid-1960s New York.

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AWARD PRESENTATION TO ANDY WARHOL (US, 1964, Jonas Mekas)

AWARD PRESENTATION TO ANDY WARHOL (US, 1964, Jonas Mekas)

When Andy Warhol refused to appear in public to accept the 1964 Film Culture magazines annual Independent Film Award, Jonas Mekas made this mock “documentary” of Warhol and a group of his superstars at the Factory. They are presented a basket of fruit which they then consume in slow motion.

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ZEFIRO TORNA OR SCENES FROM THE LIFE OF GEORGE MACIUNAS (US, 1992, Jonas Mekas)

ZEFIRO TORNA OR SCENES FROM THE LIFE OF GEORGE MACIUNAS (US, 1992, Jonas Mekas)

"Bits of Fluxus events and performances, and picnics with friends (Almus, Andy Warhol, John Lennon, Yoko Ono, etc.), George's wedding and footage I took of him in Boston hospital three days before he died." —Jonas Mekas

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SCENES FROM THE LIFE OF ANDY WARHOL: FRIENDSHIPS AND INTERSECTIONS (US, 1990, Jonas Mekas)

SCENES FROM THE LIFE OF ANDY WARHOL: FRIENDSHIPS AND INTERSECTIONS (US, 1990, Jonas Mekas)

In SCENES FROM THE LIFE Of ANDY WARHOL: FRIENDSHIPS AND INTERSECTIONSJonas Mekas continues in his tradition of creating rapid-fire diary films, chronicling not only Andy Warhol, but also the social and cultural excitement that swirled around him, throbbing to a hypnotic Velvet Underground beat.

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Re:voir Collection

Re:voir Collection

GME presents key works published by RE:VOIR, a label that publishes and distributes classic and contemporary experimental cinema including films from the Dadaist, Surrealist and Letterist movements, films from the American avant-garde, diary films, arthouse features, animated works and hand-painted films.

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Warren Sonbert Collection

Warren Sonbert Collection

Warren Sonbert (1947-1995) was one of the seminal figures working in American experimental film. He started making films in 1966 while a student at New York University, and before he was 20 years old, his first career retrospective drew the attention of the film critic for the commercial trade journal Variety, who wrote that “Probably not since Andy Warhol’s The Chelsea Girls had its first showing at the Cinematheque... almost a year and a half ago has an ‘underground’ film event caused as much curiosity and interest in N.Y.’s non-under- ground world as did four days of showings of the complete films of Warren Sonbert at the Cinematheque’s new location on Wooster St.”

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WHERE DID OUR LOVE GO? (US, 1966, Warren Sonbert)

WHERE DID OUR LOVE GO? (US, 1966, Warren Sonbert)

WHERE DID OUR LOVE GO? is an homage to the artistic and social milieu of New York City in the 1960s, as portrayed by the youthful protagonists in the film. Sonbert chronicles his friends and colleagues at the Janis and Castelli galleries, MOMA, Warhol’s Factory, the Bleecker Street Cinema, a rock concert, shopping, dancing, partying, and simply hanging out.

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HALL OF MIRRORS (US, 1966, Warren Sonbert)

HALL OF MIRRORS (US, 1966, Warren Sonbert)

“This film is an outgrowth of one of Sonbert's film classes at NYU, in which he was given outtakes from a Hollywood film photographed by Hal Mohr to re-edit into a narrative sequence. Adding to this found footage, Sonbert filmed Warhol's superstars Rene Ricard and Gerard Malanga in more private and reflective moments.” - Jon Gartenberg

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