Karl Lagerfeld: A Line Through Cinema

Metrograph, NYC

 

맨해튼 로어이스트사이드의 예술영화관 메트로그라프(Metrograph)가 6월 9일부터 11일까지 샤넬의 전설적인 디자이너 칼 라거펠트(1933-2019)가 사랑했던 영화 4편을 상영한다.

 

라거펠트가 의상을 담당했던 페드로 알모도바르 감독의 '하이 힐(High Hills, 1991)', 알랭 르네 감독의 '지난해 마리엔바트에서(Last Year at Marienbad, 1961)', 프리츠 랑 감독의 '메트로폴리스(Metropolis, 1917)', 그리고 바벳 슈로더 감독의 '미스트리스(Mistress, 1976)'이다. 이 프로그램은 메트로폴리탄뮤지엄에서 열리고 있는 특별전 'Karl Lagerfeld: A Line of Beauty'(5/5-7/16)에 맞추어 마련된 것이다. 

https://metrograph.com/category/lagerfeld/?mc_cid=e3aadebd39&mc_eid=922e89cc61

 

Beginning June 9 Metrograph In Theater

KARL LAGERFELD: A LINE THROUGH CINEMA

 

Composite Image, 2023. Photographed by Julia Hetta.

 

Presented In Conjunction With The Costume Institute’s Karl Lagerfeld: A Line of Beauty Exhibition at The Met, A Cinematic Showcase of Lagerfeld's Costume Designs Work & His Inspirations

 

Metrograph presents Karl Lagerfeld: A Line Through Cinema, beginning June 9 at Metrograph in Theater. 

 

To celebrate The Costume Institute’s spring 2023 exhibition, Karl Lagerfeld: A Line of Beauty, on view at The Metropolitan Museum of Art, Metrograph presents a series that honors Lagerfeld’s dazzling work as a costume designer, screening alongside several of Lagerfeld’s favorite films.

 

Karl Lagerfeld: A Line of Beauty (May 5-July 16) examines the designer’s unique working methodology, focusing on the late designer’s stylistic vocabulary as it was expressed in through lines—aesthetic and conceptual themes that appear time and again—in his fashions from the 1950s to his final collection in 2019.

 

A film series celebrating The Costume Institute exhibition Karl Lagerfeld: A Line of Beauty at The Metropolitan Museum of Art. 

 

HIGH HEELS

dir. Pedro Almodovar, 1991, 112 min, DCP

 

One of two films on which Lagerfeld, then in the midst of his tenure at Chanel, designed costumes for the famously décor- and costume-obsessive Almodóvar, High Heels features Marisa Paredas as an aging singer returning home in an attempt to mend bridges with her estranged television newscaster daughter Victoria Abril, a process complicated when the man who both women happen to have loved turns up dead. From the introduction of Paredas modeling a classic Chanel-inspired look to the almost fetishistic recurrence of the interlocked double Cs logo, Almodóvar’s ’40s “women’s picture” pastiche doubles as a loving homage to French haute couture.

 

LAST YEAR AT MARIENBAD

dir. Alain Resnais, 1961, 94 min, DCP

 

Variously pilloried and adulated in its time, and undeniably “one of the most influential movies ever made” [J. Hoberman, The Village Voice], Resnais’s coolly glittering, fascinating, frustrating film, made in collaboration with novelist Alain Robbe-Grillet, lays its scene at a hotel located in a baroque château. A man and a woman (Giorgio Albertazzi and Delphine Seyrig) meet; he claims they had an affair a year ago; she has no memory of him; a third man (Sacha Pitoëff), who may or may not be the woman’s husband, intervenes only to further muddy the waters. A film of absolute ambiguity in both content and style, marked by abrupt shifts in timeframe and location, untrustworthy narration, and disconcerting editing patterns, and a work that has lured in generations of viewers hoping either to unlock its mysteries or simply relish in its solemn, seductive beauty.

 

4k restoration from the original negative by Studiocanal at Hiventy laboratory, with the support of CNC and Chanel.

 

METROPOLIS

dir. Fritz Lang, 1927, 153 min, 35mm

 

Lang’s futurist epic imagines a dystopian 2026 where the proletariat has been reduced to a state of near-automation, until a Maschinenmensch robot simulacra of a real woman is used to sow dissent amongst their ranks, leading to a spectacle of revolutionary chaos. The Babel-like skyline of the film’s city setting, inspired by the spires of Manhattan, Walter Schulze-Mittendorff’s robot design—which inspired Karl Lagerfeld’s iconic 2010 Vogue fashion spread—are two visual references from which much of subsequent science fiction cinema has never ceased to refer to, in a film often imitated but never surpassed in its visionary imagination and awesome soundstage scope.

 

MISTRESS

dir. Barbet Schroeder, 1976, 112 min, DCP

 

Lagerfeld had become a superstar via his work for the French fashion house Chloé when Schroeder called on him to design the costumes for his BDSM-steeped romantic comedy, in which amateur thief Gérard Depardieu stumbles into the dungeon of dominatrix Bulle Ogier, who takes the big lug as a lover, though he struggles to reconcile himself to her profession. The film’s abundance of rubber corsets, ballet boots, gas masks, and other fetish gear offer Lagerfeld a golden opportunity for flights of kinky fancy, while the daywear tends towards Peter Pan collars, pastels, and loose slacks. Look out for the cameo by the calla lilies-topped bottle of Lagerfeld’s then-new Chloé perfume in Ogier’s boudoir.     

 

Karl Lagerfeld: A Line Through Cinema runs from June 9 to June 11, with select encore screenings to follow.

https://metrograph.com/category/lagerfeld/?mc_cid=e3aadebd39&mc_eid=922e89cc61