AU REVOIR LES ENFANTS

Dir. Louis Malle (105min, France, 1987)
French with English Subtitles
Narrative

A heartbreaking story of friendship and loss concerning two boys living in Nazi-occupied France. At a provincial Catholic boarding school, the precocious youths enjoy true camaraderie—until a secret is revealed. Based on events from writer-director Louis Malle’s own childhood, the film is a subtle, precisely observed tale of courage, cowardice, and tragic awakening.

Co-presented by All GenerationsAlliance Française de Washington DC, and 3GDC.

Saturday, February 21, 6:30 pm
Goethe Institut Washington
814 Seventh Street NW at I Street
Washington, DC

buy-tickets

Tuesday, February 24, 3:00 pm
DCJCC
1529 16th Street NW
Washington, DC

 buy-tickets
Preview
Bio
Loius-MalleCrime dramas, comedies, romances, tragedies, fantasies, documentaries, and, of course, coming-of-age stories­—director Louis Malle did it all. This most unpredictable and eclectic of filmmakers enriched cinema over a nearly forty-year career that took him from Jacques Cousteau’s watery depths to the peripheries of the French New Wave (Zazie dans le métro, The Fire Within) to the vanguard of American movie making (My Dinner with André).

Malle had an intellectually curious nature that led him to approach film from a variety of angles; he was as comfortable making minimalist works like the wordless Humain trop humain and the talky André as phantasmagorical ones like Black Moon. He is probably best known, though, for his deeply personal films about the terrors and confusions of childhood, such as Murmur of the Heart and Au revoir les enfants. Perhaps not as well-known is his parallel career as a master of the nonfiction form—one of his many documentary achievements was the seven-part Phantom India, which would be a stunning career centerpiece for anyone else; for this director, it was simply a fascinating side project. Malle died in 1995, shortly after directing his final film, the typically experimental Vanya on 42nd Street.

Press
“The film’s quiet integrity finally depends on his avoidance of heroic cliché and stylistic bombast, and on the unindulgent generosity extended towards his characters.” –Geoff Andrews, Time Out