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 “undeground.” Clémenti lived in Pardo and Aumont’s house for some time and, in POSITANO, created images of dazzling sensuality.

Pierre Clémenti’s LA RÉVOLUTION N'EST QU'UN DÉBUT. CONTINUONS LE COMBAT follows the actor and filmmaker during the May ‘68 protests, which occurred during the making of Bernardo Bertolucci’s 1968 dramatic feature PARTNER in Italy (in which Clémenti starred). The film documents Clémenti’s extensive travels between the demonstrations in Paris and the set of Bertolucci’s film in Rome, thereby capturing his a double life as both activist and artist.

Shot in 1967 but not released until 1976, Pierre Clémenti's VISA DE CENSURE N°X is an acid-infused experimental whirlwind of color and music featuring a veritable who's who of the French 1960s underground. VISA DE CENSURE N°X showcases an extraordinary range of scenes from Clémenti's life during the late 1960s. The film features a number of influential artists from both sides of the Atlantic, including Viva, Nico, Jean-Pierre Kalfon, Philippe Garrel, Tina Amount, Barbara Girard, Étienne O'Leary, Jimi Hendrix, Frédéric Pardo, Judith Malina, Julian Beck, Jean-Marc Momon, and and Clémenti himself.

“Clémenti’s second film is the chronicle of his life as an artist… it was shown in various cuts with live music before its final edit in 1979. Spanning the set of Luchino Visconti’s THE LEOPARD, Maurice Béjart’s ballets, and an encounter with Viva in Andy Warhol’s New York, the film’s episodic quality evokes Clémenti’s peripatetic existence. Its narrative vignettes are Clémenti’s first use of voiceover, bringing intimate sentiment and somber tones to a more introspective work.” —The Museum of Modern Art