THE LAST METRO

Dir. François Truffaut (131min, France, 1980)
French with English subtitles
Narrative

Gérard Depardieu and Catherine Deneuve star as members of a French theater company living under German occupation during World War II in François Truffaut’s gripping, humanist character study. Against all odds, the troupe – a Jewish theater manager in hiding, a leading man who’s in the Resistance, increasingly restrictive Nazi oversight – believes the show must go on.

Equal parts romance, historical tragedy and even comedy, The Last Metro is Truffaut’s ultimate tribute to art overcoming adversity, and became one of his most popular films, earning an Academy Award nomination for Best Foreign Film and 10 French César awards, including Best Film, Best Actor and Best Actress.

Co-presented by Alliance Française de Washington DC.

Tuesday, February 24, 12:15 pm
DCJCC
1529 16th Street NW
Washington, DC

buy-tickets

Wednesday, February 25, 7:00 pm
Goethe Institut Washington
814 Seventh Street NW
Washington, DC

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Preview
Bio
TruffautA lifelong cinephile, François Truffaut first made his cinematic mark as a fiery, contentious critic for Cahiers du cinéma in the 1950s, denouncing the French film industry’s bloated “tradition of quality” and calling for the director to be redefined as the auteur, or individual author, of the film.

Truffaut then became an auteur himself, starting with The 400 Blows, which won him the best director award at Cannes and led the French new-wave charge. The 400 Blows remains Truffaut’s seminal film, yet he continued to reinvigorate cinema throughout the sixties, with such thrilling works as Shoot the Piano Player and Jules and Jim.

Truffaut also continued to follow the adventures of400 Blows protagonist Antoine Doinel—embodied by Jean-Pierre Léaud—through the seventies (Stolen Kisses, Bed and Board, Love on the Run), while directing such other classics as Day for Night and The Last Metro, which displayed his undying love for cinema and life. His own life was tragically cut short at the age of fifty-two.

Press
“A dazzlingly subversive work.” -Vincent Canby, New York Times