Film

Metropolitan

A Journey in the Festival’s History

USA  ·  1990  ·  35 mm  ·  Color  ·  100'  ·  o.v. English

Chosen by Axelle Ropert.
On Demand

5-15 | 8 | 2020  ·  Sub. French

Disponibile in Svizzera – Available in Switzerland


On Demand

5-15 | 8 | 2020

Available on MUBI for the international audience: film availability varies depending on your location


Screening

Wednesday 12 | 8 | 2020, 21:00  ·  GranRex  ·  Sub. German


Screening

Thursday 13 | 8 | 2020, 10:00  ·  GranRex  ·  Sub. German


Screening

Friday 14 | 8 | 2020, 15:00  ·  GranRex  ·  Sub. German

An ironic look at Manhattan’s dying debutante scene, Metropolitan tells of the rise and ultimate decline of young Park Avenue socialites - the Sally Fowler Rat Pack - who gather nightly to discuss love, honor, and the demise of their class. Among them comes an outsider in a rented tuxedo, Tom Townsend, a Fourierist socialist from the West Side. In the decadent, post-Christmas “Orgy Week” (a slight misnomer), it is Von Sloneker’s shadow, which falls on the self-dubbed Sally Fowler Rat Pack (SFRP), contributing to the group’s disintegration. A witty, richly detailed comedy-drama, Metropolitan accurately portrays the surviving remnants of the world, which F. Scott Fitzgerald’s This Side of Paradise caught at its heyday.

Selected by Axelle Ropert
Director of Petite Solange


During this very unusual spring of 2020, the only films I watched were those that had no connection to what was going on in the world – no disaster movies, no war movies, no “dramas”. I only watched “pointless” films, with no historical or social topic, no “message”, and no specific urgency justifying their existence. Give me a “superfluous” film and nothing else, please.  

Metropolitan (1990) fits into that category, and exponentially so, as it is a mundane comedy, the “superfluous” genre par excellence, which we’d be hard pressed to defend at a time when we would need a work of art. In the fancy New York neighborhoods of the late 1980s, a few handsome and affluent young people spend their days talking endlessly, throwing away money and living shamelessly inside a golden bubble of sorts. It’s an enchanting film that puts you at ease with its brightness, the breakneck pace of the dialogue, the beautiful girls and the exhaustingly witty boys. You will not be able to resist Chris Eigeman, who is Whit Stillman’s Jean-Pierre Léaud. It is also a captivating film that prolongs the mission of classic Hollywood. Why would I choose a “superfluous” film, in this time of hardship? This film is not the opium of the people, or a diversion of any kind. Instead, it allows us to make “the jump out of the heavy contingency of life”: it takes us away from the tyrannical injunctions of reality, celebrates the flow of things and pits art, proudly and stubbornly, against everything else. After the viewing, we’ll come back down to earth, lighter and stronger.

– Axelle Ropert 

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Information

Director

Whit Stillman

Cast

Carolyn Farina, Edward Clements, Christopher Eigeman, Taylor Nichols, Allison Rutledge-Parisi, Dylan Hundley

Producer

Whit Stillman, Brian Greenbaum

Co-producer

Peter Wentworth

Cinematography

John Thomas

Music

Mark Suozzo, Tom Judson

Screenplay

Whit Stillman

Sound

Antonio Arroyo

Editing

Christopher Tellefsen

Production

Westerly Film Video Inc. (New York)

World Sales

Local Films
localfilms.distrib@gmail.com
www.local-films.com

Westerly Film-Video Inc
whitstill@msn.com

Print

Cinématheque suisse
info@cinematheque.ch
www.cinematheque.ch

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