SYMPATHY FOR THE DEVIL
1968, ABKCO Films, 110 min, UK, Dir: Jean-Luc Godard

Jean-Luc Godard’s SYMPATHY FOR THE DEVIL stands as one of the pivotal and, arguably, most controversial films of the legendary provocateur. The film alternates between reflections on contemporary politics and social issues of the late 1960s while providing an unprecedented view of The Rolling Stones’ creative process in the recording studio. Its infamous premiere at the 1968 London Film Festival was highlighted by Jean-Luc Godard physically assaulting the producer on stage. Witness the premiere of the pristine 4K restoration, presented in its original aspect ratio, as supervised by Tony Richmond, the film’s cinematographer.


NICO, 1988
2018, Magnolia Pictures, 93 min, Italy/Belgium, Dir: Susanna Nicchiarelli

This riveting late-career biopic features a tour de force performance by Trine Dyrholm as famed singer-songwriter Nico, who approaches 50 leading a solitary existence in Manchester, England, far from her glory days as a Warhol superstar and celebrated vocalist for The Velvet Underground. Her life and career on the ropes, Nico is convinced by her new manager, Richard (John Gordon Sinclair), to hit the road again and tour Europe to promote her latest album. Struggling with her demons and the consequences of years of addiction, she longs to rebuild a relationship with the son (Sandor Funtek) whose custody she lost long ago. A brave and uncompromising musician, Nico’s is the story of an artist, a mother and the woman behind the icon. “Dyrholm’s performance is a powerhouse of authenticity. Her moroseness is mesmerizing, but she also gives Nico a tense intelligence, and her singing is uncanny.” - Owen Gleiberman, Variety.


THE VELVET UNDERGROUND AND NICO
1966, MoMA, 70 min, USA, Dir: Andy Warhol

Subtitled “A Symphony of Sound,” this film captures the alternative rock quartet, plus chanteuse Nico, rehearsing together at Andy Warhol’s Factory. Consisting of one long, improvised jam (which gets stopped by New York City cops, presumably because of noise complaints), the film pulsates with wild zooms and kinetic camerawork courtesy of Paul Morrissey.


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