TCM Presents: Directed by Whit Stillman on Sept. 28th

A reader Brian Vanhook wrote in to let us know two Stillman films will be on TCM:

A Whit Stillman night will be held on TCM on Sunday, September 28th.

Metropolitan Airs at 8pm and is followed by Barcelona at 10pm.

Whit Stillman TCM

Stillman will introduce the films with TCM host Robert Osborne (so you might want to tune in ahead of 8pm to catch that).

Whit Stillman’s Films Continue to Play in Parisian Theaters

From the Damsels in Distress official facebook page:

RÉTROSPECTIVE WHIT STILLMAN

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The DAMSELS return to Paris mardi 16 sept at L’Archipel cinema accompanied by director Whit Stillman & cinéaste Serge Bozon:

DAMSELS IN DISTRESS :
MARDI 16 SEPTEMBRE A 20H
Séance présentée par Whit Stillman et Serge Bozon (critique et cinéaste)

BARCELONA :
MARDI 23 SEPTEMBRE A 20H
Séance présentée par Whit Stillman et Benjamin Esdraffo (cinéaste, comédien et compositeur)

« Pour “trianguler” Whit Stillman sur la carte du cinéma mondial, l’on pourrait citer Woody Allen et Éric Rohmer, Pston Sturges et Vincente Minnelli, ou encore, pour leur côté tiré à quatre épingles et romanesque enfoui, Jean-Claude Biette et ses disciples jadis regroupés au sein de La Lettre du cinéma (Serge Bozon, Axelle Ropert, Sandrine Rinaldi, les frères Léon…). Mais il est aussi une référence littéraire, qui, si elle n’est pas citée directement par l’intéressé (contrairement à Jane Austen et Fitzgerald), vient en tête : les Précieuses françaises du XVIIe siècle.

Comme elles, Whit Stillman (pour l’anecdote, “wit” en anglais signifie “esprit”, au sens d’en avoir) croit en un monde de vertu et de morale, un monde où l’élégance, le raffinement et la frivolité, sans négliger un certain genre de trivialité, forment un barrage contre l’obscurantisme. Un monde, aussi, où il est possible de se façonner par la culture et de se réinventer (…). »
Jacky Goldberg, Les Inrocks

HuffPo Article on Whit Stillman’s ‘The Cosmopolitans’

Anne Margaret Daniel writes for the Huffington Post about Whit Stillman’s The Cosmopolitans.  She also touches on the enduring timeless nature of his debut film, Metropolitan.

Chloe Sevigny The Cosmopolitans Whit Stillman Amazon Studios

F. Scott Fitzgerald, one of his favorite writers and one of the best-known American expatriates of 1920s Paris, has in his work something Stillman admires, and that shows in The Cosmopolitans: “a seductive, wonderfully romantic version of things which I find very appealing.” Yet, as Stillman cautioned in a recent interview, this romantic view is “not comical, and it’s not healthy. It’s really unhealthy.” Fitzgerald could be immensely funny, from his jokes and wordplay to laconic one-liners like one of Nick Carraway’s best, in The Great Gatsby (1925): “As for Tom, the fact that he ‘had some woman in New York’ was really less surprising than that he had been depressed by a book.” Yet in his two great novels written partly in France (Gatsby) and set there (Tender Is The Night), Fitzgerald settled into what he himself called “nostalgia or flight of the heart.”

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Most of all, there has to be Paris. Stillman is a master of that Modernist elision, in the joining sense, of character and place. The Cosmopolitans makes Paris a character every bit as much as Manhattan, the Valley of Ashes, and the Eggs are characters in Gatsby, or Dublin is the central character in James Joyce’s Dubliners (1914). The Cosmopolitans is a half hour’s cheap vacation to Paris. Yes, there is much talking in The Cosmopolitans, but the silences are golden: vignettes of the straight 19th century buildings of Rive Gauche; the bateaux-mouches, constant by day and night; the Seine bookstalls; the two a.m. bridges making a City of Light.