All AC Screenings & Events are Vaccinated-Only
35mm, 70mm, nitrate, state-of-the-art digital. Q&As, retrospectives, double-features, triple-features, marathons. We’re a year-round film festival. There’s something for everyone in our programming lineup.
The American Cinematheque is a member-donor-volunteer supported 501(c)(3) non-profit arts organization whose mission is to celebrate the experience of cinema.
37 years of American Cinematheque film programming….and counting. Dive into the AC Vault to discover past Q&As and clips from our vast and newly digitized archives, old calendars and programs, new podcasts, conversations and much more.
Since it began screening films to the public in 1985, the American Cinematheque has provided diverse film programming and immersive in-person discussions and events with thousands of filmmakers and luminaries, presenting new and repertory cinema to Los Angeles.
$10.00 (member); $15.00 (general admission)
Aero Theatre | ‘Robert Bresson: An American Cinematheque Retrospective’
Tickets are no longer on sale for this event.
Home / Now Showing / THE TRIAL OF JOAN OF ARC / LANCELOT DU LAC
THE TRIAL OF JOAN OF ARC, 1962, Janus Films, 65 min, France, Dir: Robert Bresson.
Bresson’s sparest and most inexorable film is taken entirely from the official transcripts of the trial of Joan of Arc – whom the director called “the most extraordinary person who ever lived” – and concentrates on her torment and humiliation. Dreyer’s THE PASSION OF JOAN OF ARC looks almost melodramatic next to TRIAL’s spartan gravity; the parched quality of Bresson’s rendering is indicated in its relative absence of water or fluids.
35mm courtesy of the Institut Français. Special thanks to the Film & TV Office, Villa Albertine in Los Angeles.
LANCELOT DU LAC, 1974, The Film Desk, 85 min, France, Dir: Robert Bresson.
Bresson’s dream project, a film he wanted to make for more than 20 years, LANCELOT DU LAC marked a new distillation in the master’s vision and style. The director predictably ignores the pageantry, magic and romance of the quest for the Holy Grail, concentrating instead on the demise of the chivalric codes and on the canonic knights’ spiritual anguish as they return “without the Grail, which is to say the absolute, God” (Bresson).
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