• Sun-Thu, March 17-21

    The Films of Pierre Étaix

    Sun-Thu, March 17-21

    Comedian, illustrator, gagman, film director — Pierre Étaix has done it all, and yet he remains largely unknown outside his homeland. Janus Films is proud to correct that situation with eight new prints: five features and three shorts produced between 1961 and 1971, all beautifully restored in 35mm. Praised by directors as diverse as Truffaut, Bresson, Godard, and David Lynch, Étaix's films combine exquisite physical comedy with inventive sight gags and a slightly surreal visual sensibility. This retrospective is an unprecedented opportunity to discover a neglected master of comic filmmaking.

    • Sun & Thu, March 17 & 21

      YOYO

      Sun & Thu, March 17 & 21
      Part of The Films of Pierre Etaix. This elaborately conceived and brilliantly mounted comedy is Pierre Etaix’s most beloved movie, as well as his personal favorite. Beginning as a clever
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    • Monday, March 18 only

      THE SUITOR w/ short film RUPTURE

      Monday, March 18 only
      Part of The Films of Pierre Etaix Pierre Etaix’s first feature introduces the droll humor and oddball charm of its unique writer-director-star. As a tribute to Buster Keaton, Etaix fashioned t
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    • Tuesday, March 19 only

      LE GRAND AMOUR w/ short film HAPPY ANNIVERSARY

      Tuesday, March 19 only
      Part of The Films of Pierre Ètaix. Despite having a loving and patient wife at home, a good-natured suit-and-tie man, played by writer-director Pierre Ètaix, finds himself hopeles
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    • Wed & Sat, March 20 & 23

      LAND OF MILK AND HONEY

      Wed & Sat, March 20 & 23
      Part of The Films of Pierre Ètaix. Pierre Ètaix’s most radical film, and perhaps unsurprisingly the one that effectively ended his career in cinema, LAND OF MILK AND HONEY i
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    • Wed, March 20 only

      AS LONG AS YOU'RE HEALTHY w/ short film FEELING GOOD

      Wed, March 20 only
      Part of The Films of Pierre Etaix In this endlessly diverting compendium of four short films, Pierre Etaix regards the 1960s from his askew but astute perspective. Each part is as technically i
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