SUMMER INTERLUDE
SOMMARLEK
1951, Janus Films, 96 min, Sweden, Dir: Ingmar Bergman

A film that the director considered a creative turning point, this reverie about life and death unites Bergman’s love of theater and cinema, and touches on many of the themes that would define the rest of his legendary career - isolation, performance and the inescapability of the past. In one of the director’s great early female roles, Maj-Britt Nilsson beguiles as an accomplished ballet dancer haunted by her tragic youthful affair with a shy, handsome student (Birger Malmsten). Her memories of the sunny, rocky shores of Stockholm’s outer archipelago mingle with scenes from her gloomy present, most of them set in the dark backstage environs of the theater where she works.


THE THREE MUSKETEERS
1921, 136 min, USA, Dir: Fred Niblo

This exciting adaptation of the oft-filmed Alexandre Dumas novel stars Douglas Fairbanks as d'Artagnan, who travels to Paris to join the king’s elite guard and joins musketeers Athos, Aramis and Porthos to defend the crown against intrigue in the 17th century. Loaded with lavish costumes and swashbuckling action, the film features such early Hollywood stars as Adolphe Menjou, Eugene Pallette and Barbara La Marr. This major new restoration was created in collaboration with the San Francisco Silent Film Festival, based on the original elements that Fairbanks donated to MoMA in 1939.


ISMAEL’S GHOSTS
LES FANTÔMES D’ISMAËL
2017, Magnolia Pictures, 135 min, France, Dir: Arnaud Desplechin

Twenty-one years ago, she ran away; now Carlotta (Marion Cotillard) is back from the void. But Ismael (Mathieu Amalric) has been busy rebuilding a life for himself with Sylvia (Charlotte Gainsbourg) and working on his next feature film. As Ismael's trials and tribulations unfurl, so too do those of the film-within-a-film’s protagonist: the idle, funny and reckless diplomat Ivan Dédalus (Louis Garrel), who, in a nod to earlier Desplechin films, is the brother of recurring character Paul Dédalus. With ISMAEL’S GHOSTS, Desplechin returns once more to the past and proves yet again that his brand of genius lies in his ability to find light in the darkest of places. This is the full-length director’s cut of the film, 20 minutes longer and markedly different in tone from the version that premiered at the Cannes Film Festival.


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