Picasso Film Program
The Australian Cinémathèque presents an extensive program of films exploring Pablo Picasso’s relationship to cinema, including important films and documentaries capturing the artist’s working methods and films exploring the themes and historical events that shaped his life and practice. The program also features documentaries and films relating to the artists whose work Picasso collected and prominent figures from his circle of friends. Highlights include Le Mystère Picasso (The Mystery of Picasso) 1955 by Henri-Georges Clouzot. For this extraordinary document of the artist's working method, Picasso created 20 original works ranging from sketches filmed in real time to oil paintings filmed using stop-motion animation. The film has been declared a national treasure by the French government. The program also features Jean Cocteau’s acclaimed ‘Orphic Trilogy’ and Salvador Dalì’s remarkable collaborations with director Luis Buñuel.
Picasso & his collection’ film program presented with the generous support of the French Embassy in Australia and the Ministère des Affaires Étrangères (Paris). Program curated by Jose Da Silva with film notes compiled with the assistance of Stewart Browne and Aurélie Dacher D'Agata.
PICASSO ON FILM
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Bezoek aan Picasso aka Visite à Picasso (Visit with Picasso) 1949 All ages ‘The artist here takes on the character of an éminence-grise, an alchemist engulfed in the sol y sombra of his laboratory-studio.’ Paul Haesearts This film portrait of Picasso provides insight into the artist’s methods as a draughtsman, painter and sculptor. Filmed at Picasso’s home studio in Vallauris, the film features Picasso painting mythical creatures on a large glass plate that separates him from the camera. Thu 4 Sept 12 noon and Thu 11 Sept 12 noon (with The Mystery of Picasso) / Cinema A |
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La vie Commence Demain (Life Begins Tomorrow) 1950 Ages 15+ ‘Documentary filmmaker Nicole Védrès’ first semi-fictional feature speculates on the future of mankind after the advent of Atomic Energy. Many prominent French artists and intellects contribute to the narration: Jean-Pierre Aumont plays “The Man of Today”, André S. Labarthe is the “Man of Tomorrow”, and Jean-Paul Sartre, Daniel Agache, Jean Rostand, Le Corbusier, Pablo Picasso and Andre Gide are respectively seen as "The Existentialist," "The Psychiatrist,” "The Biologist," "The Architect," "The Artist" and "The Author". Film clips of hospitals, schoolrooms, scientific laboratories, and even nightclubs are woven into Védrès’s fascinating tapestry.’ Hal Erickson Sun 29 Jun 1.00pm and Wed 2 Jul 6.00pm / Cinema A |
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Le Mystère Picasso (The Mystery of Picasso) 1955 All ages ‘In a 1935 issue of Cahiers d’Art, writer Christian Zervos paraphrases a conversation he had with Picasso, about possible ways to record the creation of a new painting: “It would be very interesting to record photographically,” Picasso said, “not the stages of a painting, but its metamorphoses. One would see perhaps by what course a mind finds its way towards the crystallisation of its dream. But what is really very curious is to see that the picture does not change basically, that the initial vision remains almost intact in spite of appearances.” Twenty years later, Henri-Georges Clouzot accomplished just what Picasso had envisioned when he directed The Mystery of Picasso 1955, a dream-like documentary in which the painter creates a series of works that exist only on film — most of the paintings were destroyed when shooting ended… François Truffaut, who was a critic for Cahiers du Cinéma at the time, perhaps put it best when he wrote, “The film is about poetry and we feel overwhelmed by it... A work by Picasso created before our very eyes! That is a miracle that, if need be, would justify the greatness of cinema.”’ Paul Tataraln Fri 13 Jun 7.00pm and Wed 18 Jun 6.30pm / Cinema A Thu 4 Sept 12 noon and Thu 11 Sept 12 noon (with Visit with Picasso) / Cinema A |
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Picasso Portraits 1996 All ages ‘Directed at an exhibition organized at the Grand Palais, Picasso Portraits describes a particular aspect of Picasso’s work, one of his portraits, referring in particular meetings of the artist with his models, including Paris. Illustrated with numerous testimonies, including that of Pierre Daix, art historian and friend of Picasso, this fascinating documentary emphasizes the richness of these portraits, their autobiographical character and their place in the entire work of the painter.’ Forum des Images Thu 19 Jun 12 noon and Sat 21 Jun 1.00pm (with Paul Haesaerts Visit with Picasso) / Cinema A |
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Surviving Picasso 1996 Ages 15+ ‘[In this Merchant-Ivory film] the story of Picasso's remarkable misanthropy is told as experienced by his mistress Françoise Gilot (Natasha McElhone). Françoise was Picasso's lover from 1944 to 1954, and they had two children together, Claude and Paloma. The film shows Picasso (Anthony Hopkins) as a notorious womanizer, with flashbacks revealing his relationships with his wife Olga (Jane Lapotaire), the artist Dora Marr (Julianne Moore), and Marie-Thérèse Walter (Susannah Harker), an earthy type who sees the artist only on Sundays. Hopkins powerfully portrays Picasso as an artistic genius with an appalling habit of using and abusing women. He not only cheats on his wife but two-times his mistresses. Françoise has survived an abusive relationship with her father (Bob Peck), and she is 40 years younger than Picasso when they become lovers. The film was supposed to be based on Gilot's book Life with Picasso, but the filmmakers were unable to get the rights to it, so they settled for basing the film on Arianna Huffington's Picasso: Creator and Destroyer.’ Michael Betzold Fri 11 Jul 7.00pm / Cinema A |
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13 Journées dans la vie de Pablo Picasso (13 Days in the Life of Pablo Picasso) 1999 All ages ‘13 Days in the Life of Pablo Picasso retraces key moments in the life and work of Picasso. A story in 13 chapters full of living memories, archives and unpublished documents, placing both man and artist in his time. Each day of his life, Picasso drew, carved, etched, shaped or painted. His work is like an immense diary where personal history and history of this century are intimately mixed: two World Wars, the Spanish Civil War, women, friendships, the different studios, the joy of life and the moments of despair, the love of painting ... The film is composed of thirteen days, thirteen key moments, each sequence with its own composition, its tone that reflects the source material presented: sketch books, master pieces or secret artworks, discussions, filmed documents, photos.’ Filmovore Wed 16 Jul 4.00pm (Part 1) and 6.00pm (Part 2) / Cinema A |
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Picasso: Magic Sex Death 2001 All ages This three part film biography is a fascinating insight into mercurial life of Picasso and his ongoing obsessions with the occult, eroticism and mortality. Written and narrated by Picasso’s friend John Richardson, also responsible for the seminal multi-volume biography on Picasso, A Life of Picasso: The Prodigy, 1881-1906, A Life of Picasso: The Cubist Rebel, 1907-1916 and A Life of Picasso: The Triumphant Years, 1917-1932. Fri 27 Jun 6.00pm (Part 1: Magic), Fri 4 Jul 6.00pm (Part 2: Sex) and Fri 11 Jul 6.00pm (Part 3: Death) / Cinema A |
PARIS EXPRESS |
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Paris 1900 1948 All ages ‘One of the most important documentary films made in France, Paris 1900 vividly conveys the mood of a world in transition, from the exuberance of the belle époque to the shattering folly of world war. Although much of material in the film is trivial (tastes in fashion, the pastimes of the wealthy elite, and such like), it contains many historically important images… The film was the brainchild of producer Pierre Braunberger who engaged journalist Nicole Védrès to assemble a nostalgic portrait of Fin de siècle Paris. Material for the film was taken from Pathé’s huge stock of film and extracts from Henri Langlois’ archive, the Cinémathèque Française. Claude Dauphin’s wry commentary prevents the film from being dry and uninteresting and provides the necessary links between the film segments.’ James Travers Sun 29 Jun 3.00pm (with Paris the Beautiful) / Cinema A |
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Paris la Belle (Paris the Beautiful) 1959 All ages Using black and white excerpts from the 1928 film Paris Express with colour sequences shot in the same locations in 1959, Pierre Prévert’s experimental documentary retraces two versions of Paris through the photographs of Man Ray and French cinematographer Sacha Vierny. Sun 29 Jun 3.00pm (with Paris 1900) / Cinema A |
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THE SPANISH CIVIL WAR |
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Terre sans Pain aka Las Hurdes (Land without Bread) 1932—36 Ages 15+ ‘Banned in Spain because of its "negativism," this portrait of the mountainous region of Las Hurdes captures a thoroughly inhospitable landscape and a people who long ago abandoned all hope. Reworking the traditional documentary to make this "essay in human geography," Buñuel deploys a highly objective, matter-of-fact commentary that serves only to heighten the devastating imagery of human misery and futility.’ Harvard Film Archive Fri 4 Jul 7.30pm (with Guernica + The Spanish Earth) / Cinema A |
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The Spanish Earth 1936 Ages 15+ ‘Considered one of the great war films, The Spanish Earth was produced with funds raised by a group of American intellectuals, including poet Archibald McLeash, writer Lillian Hellman, Ernest Hemingway, and composer Virgil Thomson. Its main theme concerns the defense of the road to Madrid, and the parallel efforts of the village farmers to irrigate fields and produce food for their soldiers. Stunningly shot, often in dangerous battle areas, The Spanish Earth is scored by Virgil Thomson and Mark Blitzstein. On location with Ivens were John Dos Passos, Robert Capa, and Ernest Hemingway, who contributed to the powerful commentary. Upon its New York City opening in 1934, The Spanish Earth was declared one of the most significant and timely documents of our time.’ The Films of Joris Ivens - Cinema without Borders Fri 4 Jul 7.30pm (with Guernica + Land without Bread) / Cinema A |
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Guernica 1950 Ages 15+ ‘This small but powerful film opens with a photograph of the destroyed town of Guernica, a casualty of the Spanish Civil War, and uses fragments of Picasso’s epic painting, together with other works by the artist and a passionate poetic text by Paul Éluard, to create a moving protest against war and a hymn to the possibilities of humanity.’ Harvard Film Archive Fri 4 Jul 7.30pm (with Land without Bread + The Spanish Earth) / Cinema A |
AGAINST WAR AND NATIONALISM |
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La Grande Illusion (Grand Illusion) 1936 Ages 15+ ‘Set during WWI, most of Grand Illusion takes place in a German prisoner of war camp for officers, including Frenchmen, who have been captured on the front. Through the relationships between the prisoners and their jailers, Renoir explores confinement and humanity’s essential longing for freedom; male friendship and its erotic overtones; class and racial ties. With Grand Illusion, Renoir broke new ground in the spontaneity and freedom of performance and shooting style, attaining warmth and compassion for people and their suffering. Unfortunately, he failed at his main objective: to have Grand Illusion persuade the Germans not to precipitate WWII.’ Harvard Film Archive Sun 13 Jul 2.00pm (with Hôtel des Invalides) / Cinema A |
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Hôtel des Invalides 1951 Ages 15+ Hôtel des Invalides is a tour of Paris’s military museum of the same name that housed a retirement home for war veterans. The Defence Ministry commissioned this landmark documentary as a filmic celebration of nationalism; the lyrical and sometimes surreal film instead developing into a scathing attack on the emblems of French national pride and military glory. Sun 13 Jul 2.00pm (with Grand Illusion) / Cinema A |
JEAN COCTEAU AND THE ORPHIC TRILOGY |
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Le sang d'un poète (The Blood of a Poet) 1930 Ages 15+ ‘In his first foray into film, artist and poet Jean Cocteau created this vivid and highly personal portrait of “the poet’s inner self”, filled with signature images of beauty, suffering, and renewal. While composed in four distinct episodes, the action of the film ostensibly takes place in the brief moment between the collapse of a chimney and its hitting the ground.’ Harvard Film Archive Wed 2 Jul 4.00pm (with Villa Santo Sospir) and Sun 13 Jul 1.00pm / Cinema A |
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Orphée (Orpheus) 1949 PG ‘In this mesmerizing modern version of the Greek myth, Orpheus (Marais) is a modern-day poet who, like Cocteau himself, worried that his verso will not bring him immorality, and that other poets, younger and superficial ones, are scorning his talents. But abruptly, the movie slides into the through-the-mirror Underworld, like Alice dropping into the rabbit hole. It’s all mysterious and utterly magical: Orpheus’ pursuit of Eurydice (Déa) and his meetings with the Princess of Death (Cesarés). The special effects are tiny by any standard, and yet they shimmer and shiver with nightmare luminosity.’ Harvard Film Archive Sun 6 Jul 1.00pm and Wed 9 Jul 4.00pm / Cinema A |
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La villa Santo-Sospir 1952 All ages Jean Cocteau 16mm home movie revisits the French coast villa used as a major location during the filming of The Testament of Orpheus. Cocteau gives an extensive tour of the house heavily decorated by Cocteau and Picasso and shows several dozen paintings, including works by Edouard, Dermithe and Jean Marais. Wed 2 Jul 4.00pm (with The Blood of a Poet) / Cinema A |
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Le Testament d'Orphée, ou ne me demandez pas pourquoi! (The Testament of Orpheus) 1960 Ages 15+ ‘The Testament of Orpheus — Jean Cocteau’s final film and the third part of his Orphic Trilogy — is an intensely personal work. The film is a self-portrait in which Cocteau reflects on his past as a poet, illustrator, writer, and filmmaker, and Cocteau (playing himself) uses the film to revisit his artistic obsessions. Those familiar with Cocteau’s work will recognize the appearance of his artistic creations throughout the film, as well as cameos by his friends (including Yul Brynner and Pablo Picasso) and collaborators (Jean Marais, Maria Casares). The Testament of Orpheus is a moving tribute to an artist and the immortality of his art.’ Harvard Film Archive Sun 6 Jul 3.00pm and Wed 9 Jul 6.00pm / Cinema A |
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Jean Cocteau: Autoportrait d’un Inconnu (Jean Cocteau : Self-Portrait of an Unknown Man) 1983 All ages ‘Using audio and video interviews with Jean Cocteau before his death, director Edgardo Cozarinsky adeptly brings out Cocteau's multitalented genius, sharp wit, and perceptive views of people, places, and past eras. An admirer of Igor Stravinsky, Pablo Picasso, and Claude Debussy — to name a few of the major artists and composers he knew — Cocteau provides both moving and amusing anecdotes about his famous and not-so-famous favourite people. Both entertaining and enlightening, this is a well-crafted and clear approach to one of the century's most unusual and gifted personalities.’ New York Times Thu 3 Jul 12 noon and Sat 5 Jul 3.00pm / Cinema A |
REVISITING PRIMITIVISM |
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Les Statues Meurent Aussi (Statues Also Die) 1953 Ages 15+ ‘This collaborative film, banned for more than a decade by French censors as an attack on French colonialism, is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker’s characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.’ Harvard Film Archive |
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Cracks in the Mask 1997 Ages 15+ Cracks in the Mask is a moving documentary about the fate of Torres Strait art and artefacts in European museums. 'Cracks in the Mask reveals a story about museums and about objects - about what museums do and about their rationale for continuing to hold such objects, and about the meaning of these objects for Torres Strait Islanders today ... a moving, often poignant representation of issues surrounding the return of such collections to the descendants of their original owners. The discussions about the relationship between objects, culture, memory, history, identity, and cultural reclamation all converge to provoke reflection and thought about these issues.' Martin Nakata |
PICASSO ET LE THÉÂTRE |
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The Story of a Marriage 1994 All ages With rare photographs and archival footage, this documentary traces the story of Picasso’s collaboration with, among others, Sergei Diaghilev, Jean Cocteau and Léonide Massine, and his designs for the ballet, from 1917 to 1924, inspired by his Russian wife Olga Koklova. Sat 12 Jul 1.00pm (with Three-Cornered Hat + The Blue Train) / Cinema A |
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Le Tricorne (The Three-Cornered Hat) 1994 All ages Manuel de Falla was a Spanish composer who collaborated with Picasso on the production of The Three-Cornered Hat, a ballet commissioned for Sergei Diaghilev's Ballets Russes in 1919. The ballet, based on a novella by Pedro Antonio de Alarcón, tells the story of a magistrate who becomes infatuated with a miller's faithful wife and his attempts to seduce her. Performance by the Paris Opera Ballet. Sat 12 Jul 1.00pm (with The Story of a Marriage + The Blue Train) / Cinema A |
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Le Train Bleu (The Blue Train) 1994 All ages Le Train Bleu is an operette dansée of a chic and flippant society. Jean Cocteau, who wrote the scenario, mockingly celebrates the cult of open-air life, fine bodies and sport. The dances are inspired by golf, tennis, swimming and acrobatics. Performance by the Paris Opera Ballet. |
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Ballets Russes 2005 G ‘Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the revolutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. Ballets Russes maps the company’s Diaghilev-era beginnings in turn-of-the-century Paris--when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration--to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rocketing egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, Ballets Russes treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come.’ Sundance Film Festival Thu 10 Jul 12 noon and Sat 12 Jul 3.00pm / Cinema A |
Paul CÉZANNE |
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Cézanne: Dialogue avec Joachim Gasquet (Cézanne: Dialogue with Joachim Gasquet) 1989 All ages ‘A landmark work of symbolist imagery. The words that the filmmakers speak off-screen are imaginary conversation with Paul Cézanne quoted from a critique by Joachim Gasquet. An exchange of memories spanning over 250 years interweaves everything from the philosophy of Empedocles, to excerpts from the film Madame Bovary, to extant paintings by Cézanne, to the buildings of the artists' village at Mont Sainte-Victoire.’ Intercommunication Centre
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Une visite au Louvre (A Visit to the Louvre) 2004 All ages In front of each painting, he talks, comments, proclaims his admiration or his disgust… Cézanne’s words come to us through Joachim Gasquet, a poet in Aix-en-Provence, who wrote a biography of the painter. So this is not a text written by Cézanne: the visit is apocryphal. With A Visit to the Louvre, the Straubs respond to Jean-Luc Godard, engaging in a dialogue with his Histoire(s) du cinéma, filming the paintings from a fixed camera position—the paintings themselves, that is, not their reproductions. Possessed of a penetrating and elementary simplicity, opening with a panoramic shot of the riverbanks of Paris and closing with a panorama of a forest, A Visit to the Louvre modestly proposes to purify our vision, to make us into seeing people again, and to separate the wheat of honest representation from the chaff of decorative imagery. “Let them set the Louvre on fire if they’re afraid of what is beautiful,” Cézanne exclaims to himself after having noticed that Courbet’s The Burial at Ornans has been entombed within the museum’s warehouse, denied public view because of its too-powerful realism.’ Frédéric Bonnaud
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Salvador DALÍ |
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Un chien andalou (An Andalusian Dog) 1929 Ages 18+ ‘One of the most celebrated short films in the history of the medium, this collaboration between two young Spanish artists—filmmaker Buñuel and painter Dalí (who wrote the screenplay)—utilizes the Surrealist form known as the "exquisite corpse" to create a dreamlike story of l’amour fou. Set in a Parisian apartment, the action spirals outward to critique the Church, bourgeois morality, and the accepted norms of art making. Even after seven decades, this dog, as filmmaker Jean Vigo once suggested, still bites.’ Harvard Film Archive Thu 21 Aug 12 noon and Sat 23 Aug 3.00pm (with Age of Gold) / Cinema A |
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L’Âge d'or (Age of Gold) 1930 Ages 18+ ‘The final film collaboration between Buñuel and Dalí, this remarkable work was banned for years after fascist and anti-Semitic groups staged a stink-bomb and ink-throwing riot in the Paris theatre where it was shown. A Surrealist exposé of the social institutions that stifle love, L’Âge d'or begins with an iconoclastic account of the founding of "Imperial Rome" (and the Catholic Church) upon the rocky shores of a pirate’s cove. A more contemporary tale ensues when Gaston Modot, as a sort of Surrealist "everyman," attempts to liberate himself from every morality: he kicks a dog, strikes a blind man, slaps the mother of his beloved, and flings a burning Christmas tree out of a window.’ Harvard Film Archive Thu 21 Aug 12 noon and Sat 23 Aug 3.00pm (with An Andalusian Dog) / Cinema A |
Max ERNST |
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Maximiliana - Die Wiederrechtliche Ausubûng Der Astronomie (Maximiliana: The Illegal Practice of Astronomy) 1966 All ages ‘In 1964 Max Ernst dissected the works of Ernst Wilhelm Tempel (1821-1889), a little-known astronomer and draughtsman-lithographer, in a series of engravings entitled Maximiliana: The Illegal Practice of Astronomy. Tempel, to whom we owe numerous discoveries, made beautiful drawings of the nebula he meticulously observed. Presenting alternating images from the works of Tempel and Ernst, the film shows Ernst at work on large-scale pieces in his studio at Seillans in the south of France. He also comments on his series of engravings inspired by Tempel. From Ernst's critical perspective, the contributions of technical instruments lead inevitably to a diminished artistic vision.’ Festival International du Film sur L’Ârt Thu 28 Aug 12 noon (with Max Ernst: Journey into the Subconscious) / Cinema A and Sat 30 Aug 1.00pm (with Max Ernst: Journey into the Subconscious) / Cinema B |
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Max Ernst: Mein Vagabundieren - Meine Unruhe (Max Ernst: Journey into the Subconscious) 1991 All ages ‘The inner world of the great painter Max Ernst is the subject of this film. One of the principal founders of Surrealism, Max Ernst, explores the nature of materials and the emotional significance of shapes to combine with his collages and netherworld canvases. The director and Ernst together use the film creatively as a medium to explain the artist's own development.’ Roland Collection Thu 28 Aug 12 noon (with Maximiliana: The Illegal Practice of Astronomy) / Cinema A and Sat 30 Aug 1.00pm (with Maximiliana: The Illegal Practice of Astronomy) / Cinema B |
Paul GAUGUIN |
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Van Gogh 1948 All ages ‘Van Gogh... recounts the artist's life through his paintings and drawings, and is especially effective in telling of Van Gogh's years in the Asylum at Arles. There is no live action; in photographing the static images, Resnais uses cinematic elements common to other films on art, including the moving camera, close-ups, and the zoom lens.’ Richard Meran Barsam Thu 17 Jul 12 noon (with Gauguin) / Cinema A and Sat 19 Jul 3.30pm (with Gauguin) / Cinema B |
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Gauguin 1950 All ages ‘Gauguin is a companion piece to Van Gogh, beginning with a self portrait by Gauguin and following his flight from Paris to an island in Oceania (Tahiti). The film adopts the tranquillity and composure of Gauguin's images of Tahitian women. But this evocation of paradise on earth is shifted as Resnais also evokes Gauguin's images of dream and nightmare.’ Emma Wilson Thu 17 Jul 12 noon (with Van Gogh) / Cinema A and Sat 19 Jul 3.30pm (with Van Gogh) / Cinema B |
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Alberto GIACOMETTI |
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A Man Among Men: Alberto Giacometti 1963 All ages A Man Among Men presents over 180 of Giacometti’s works and reveals through interviews with the artist insight into the motivation and processes behind many of his most celebrated works. Thu 14 Aug 12 noon / Cinema A and Sat 16 Aug 3.00pm / Cinema B |
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What Is a Head? 2000 All ages Michel Van Zele explores Giacometti’s various sources of inspiration and his unique conception of the portrait, whether through sculpture, drawing or painting. “I will never be able to put all the force contained in a head into a portrait,” Giacometti once confessed while drawing author Jean Genet. Wed 13 Aug 4.00pm / Cinema A and Sun 17 Aug 3.30pm / Cinema B |
Amedeo MODIGLIANI |
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Les Amants de Montparnasse (Montparnasse 19) 1958 Ages 15+
Fri 25 Jul 6.00pm and Sun 27 Jul 3.00pm / Cinema A |
GERTRUDE STEIN |
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Gertrude Stein: When This You See, Remember Me 1971 All ages ‘Gertrude Stein: When This You See, Remember Me profiles the influential expatriate American writer Gertrude Stein, who lived openly gay at a time when it wasn't socially acceptable. The documentary focuses on the years 1905 through the 1930s, when Stein's circle of friends and disciples included the toast of the Paris art and literary scene. Highlights include still photographs, home movies of Stein with her life partner Alice B. Toklas, newsreel footage, an archival radio interview with Stein, footage of the author's art collection (she was one of the early collectors of cubism), and interviews with people who knew her.’ Steve Blackburn Thu 24 Jul 12 noon and Sat 26 Jul 3.00pm / Cinema A |
