Director: Amos Gitai
Cast: Léa Seydoux, Grégoire Leprince-Ringuet, Pierre Arditi, Arielle Dombasle, Catherine Jacob, Maud Wyler, Florence Thomassin, Valeria Bruni Tedeschi, André Wilms
France; 113’, 2010, color
French with Turkish subtitles
The film mercilessly but sensitively dissects the materialist, post-war world of the French lower middle-class. It starts with a radio broadcast from the Second World War, a piece of official Vichy propaganda, and soon moves to stirring Resistance speeches of patriotic exhortation. This is the backdrop for a wedding between Daniel and Marjoline, a relationship that we follow over the following years as it waxes and wanes, mirroring in many ways the fortunes of France itself at this time. Marjoline, an attractive but somewhat empty-headed girl, soon turns into a consumer par-excellence, eagerly devouring magazines and ads, looking for exciting new clothes or appliances for her house. Daniel, on the other hand, is more of a dreamer, in love with the roses that were a family business and which he has inherited along with his patrimony. Gitaï proves extremely adept at following the emotional curves of this ill-fated marriage, as debt and credit begin to overwhelm the couple’s early romanticism. While everyday life plays out against a backdrop of post-war reconstruction and expansion, the ebb and flow of the relationship is beautifully circumscribed. Furthermore, the film is a paean to '50s décor, clothes and design; as immense efforts have been painstakingly made to assure total faithfulness to the era. But underneath the immaculate surface lies a potent message.
Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.
The man is depicted in three-quarters view, turning straight to the viewers with a penetrating glance. The background is grey, while the clothes, the hair, and cap are black.
Pera Museum presented a talk on Nicola Lorini’s video installation For All the Time, for All the Sad Stones, bringing together the artists Nicola Lorini, Gülşah Mursaloğlu and Ambiguous Standards Institute to focus on concepts like measuring, calculation, standardisation, time and change.
Tuesday - Saturday 10:00 - 19:00
Friday 10:00 - 22:00
Sunday 12:00 - 18:00
The museum is closed on Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 200 TL
Discounted: 100 TL
Groups: 150 TL (minimum 10 people)
