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FAQ: Auditorium ProgramsThree recent examples of film as personal narrative illustrate the vitality and variety of this genre. As with writing, the filming of personal history should cause the viewer "to feel secure that the [filmmaker] has done his or her introspective homework, and is trying to provide the maximum understanding and intelligence of which he or she is capable."—Phillip Lopate, The Art of the Personal Essay
Washington premiere
Family ties and faded memories are invoked in Arnaud Desplechin's beautiful memoir about life in the town of Roubaix on the French-Belgian border. Bernard Herrmann's Vertigo score, and other artfully chosen details, enhance a stirring meditation on the makeup of a complex family while revealing the milieu of one of France's most prominent young filmmakers. (Arnaud Desplechin, 2007, 35 mm, French with subtitles, 70 minutes)
In the midst of the capricious craziness of Guy Maddin's latest memoir, the filmmaker's much maligned Canadian hometown becomes a city of mystery and a vehicle for his own ruminations on a variety of themes, including family members and virtually all his past movies. "For Guy Maddin, the whole world is Winnipeg"—J. Hoberman. (Guy Maddin, 2007, 35 mm, 80 minutes)
Washington premiere
With their profound but whimsical storytelling, Agnès Varda's films remain the unsung gems of the French new wave. Still filming today at age 80, Varda recently completed The Beaches of Agnès, a stirring summation of her life and career. Recollections of long-ago family outings to seaside towns become the curious entry points into her extraordinary past. (Agnès Varda, 2008, 35 mm, French with subtitles, 110 minutes)