Film Thinking about Film

Summer Cinema

5 July - 31 August 2024 - 10pm
Curators
Chema González, Víctor Losilla and Lucía Salas
Organised by
Museo Reina Sofía
Collaboration
All films are screened in a digital format

The Museo Reina Sofía’s outdoor summer cinema series returns, once again, in the Sabatini Building Garden throughout the months of July and August. The subject matter of this year’s edition explores how film reflects on itself or, similarly: how film thinks about film. From its origins to the present day, the film medium has explored its own nature from different perspectives: as a magical phenomenon of light and time, as a creative obsession, as an industry with its trades, conditions and precarities or as a series of narrations that depict a community.

The series orbits around nine themed programmes that explore questions on the construction of the actress on and off screen, Hollywood’s dark side, paeans for the cinematography of non-hegemonic geographies, the film-maker as an accursed artist, film as a way of living and feeling, film theatres as a reflection of a dying-breed urban and human landscape and comedy as a genre which, from joke to joke, blurs fiction’s limits. By way of diverse works, from different eras and contexts, from independent to classical cinema and from fiction to essay film, this film season seeks to convene a plural history of the medium and, in so doing, contribute to reflections around it.

Collaboration
Sponsor
Estrella Damm

Programa

Actresses Under Construction

Programme 1

Actresses and their mythology and rise to stardom have been a mainstay of classical Hollywood cinema and the melodrama genre. This programme contains two classics of the genre about actresses and women fighting for survival: Pedro Almodóvar’s Todo sobre mi madre (All About My Mother), which, twenty-five years on from its premiere, has lost none of its force, and Todd Haynes’s May December, one of the films of this past year.

Pedro Almodóvar, Todo sobre mi madre (All About My Mother), film, 1999
Actividad pasada Friday, 5 July 2024 - 10pm
Session 1

Pedro Almodóvar. Todo sobre mi madre (All About My Mother)
Spain, 1999, colour, original version in Spanish, 101’
— Presented by the film’s director, Pedro Almodóvar

In a male-dominated world, all women are actresses: they represent a role to be moulded around the expectations and projections of others. With this idea in mind, Pedro Almodóvar wrote the story of Manuela (played by Cecilia Roth), a single mother who sees her son killed in a road accident on his seventeenth birthday. From this point on, she looks to fulfil the boy’s dream: to meet his father, whose existence she had always kept secret from him. And so Manuela embarks upon a journey through the ambiguity that characterises gender identity and all roles we represent in life. Todo sobre mi madre constitutes a remarkable homage to Bette Davis, Gena Rowlands and Romy Schneider, and to all suffering actresses, mothers and women.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 3 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Sold out

Todd Haynes. May December, film, 2023
Actividad pasada Saturday, 6 July 2024 - 10pm
Session 2

Todd Haynes. May December
USA, 2023, colour, original version in English with Spanish subtitles, 115’

A young actress (played by Natalie Portman) visits an older woman (Julianne Moore) to research and prepare her leading role in a film about the woman’s life and her controversial relationship with her husband (Charles Melton), with whom she started a relationship when he was a teenager. The presence of the actress rocks the woman’s family dynamics to offer a reflection on the different roles we play, day to day, and the motivations and emotions we conceal. The themes of this recently premiered work — one of the films of the year — engage in a whispered conversation with those of Todo sobre mi madre.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 3 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Sold out

Hollywood and its Other Side

Programme 2

This second programme comprises two portraits of Los Angeles which oscillate between dream and nightmare, taking as their point of departure two of the city’s most iconic roads, Sunset Boulevard, a thoroughfare which links the city centre to an opulent coastal area by the Santa Monica Mountains, and Mulholland Drive, a winding road that skirts the mansions of the rich and famous.    

Billy Wilder. Sunset Boulevard, film, 1950
Actividad pasada Friday, 12 July 2024 - 10pm
Session 3

Billy Wilder. Sunset Boulevard
USA, 1950, black and white, original version in English with Spanish subtitles, 110’

Sunset Boulevard connects two contrasting areas of Los Angeles: the centre and the sea. Along its near 24 miles are residential areas, iconic nightclubs, major commercial areas, cinemas and endless stately homes. The road was chosen by director Billy Wilder to situate the rise-and-fall story of two characters: the down-on-his-luck screenwriter Joe Gillis (played by William Holden), and a forgotten star of Hollywood’s silent cinema, Norma Desmond (Gloria Swanson). In the film, the city and film industry become a factory of nightmares for the two characters, who embark upon a downward spiral towards destruction.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 10 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

David Lynch, Mulholland Drive, film, 2001
Actividad pasada Saturday, 13 July 2024 - 10pm
Session 4

David Lynch. Mulholland Drive
USA, 2001, colour, original version in English with Spanish subtitles, 147’

In Mulholland Drive, film-maker David Lynch creates an even more distorted mirror of Hollywood than its predecessor Sunset Boulevard (Billy Wilder, 1950), choosing a more mysterious, darker and writhing road: Mulholland Drive, a street that seems to advance in circles, like the film itself. The story begins with an enigmatic woman, Rita (played by Laura Harring), who loses her memory after a car accident. Disorientated, she arrives at the apartment of Betty (Naomi Watts), a young, aspiring actress who is new to LA. The two women attempt to discover Rita’s identity, moving deep into this city of illusion and mystery, occupied by terrifying nightmares, film directors and hypnotic nightclubs, while the coordinates of time and space become ever more indecipherable.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 10 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

The Many Cinema Paradisos

Programme 3

This programme assembles two films against the amnesia threatening the memory of cinema and its country, namely Colombia and Lebanon, two territories that have lost a significant part of their film history. The selected films assemble patchworks of this memory to forge a link between what remains and what is missing. 

Jocelyn Saab, Kanya Ya Ma Kan, Beyrouth (Once Upon a Time in Beirut), film, 1995
Actividad pasada Friday, 19 July 2024 - 10pm
Session 5

Jocelyne Saab. Kanya Ya Ma Kan, Beyrouth (Once Upon a Time in Beirut)
Lebanon, France, Germany and Argentina, 1995, colour, original version in Arabic, English and French with Spanish subtitles, 104'. Acknowledgements to the Association Jocelyne Saab

Two young friends, Yasmine and Leila, visit an old film collector, Mr Farouk, who lives in a secret place surrounded by fragments of the history of Lebanese cinema: posters, photographs, projectors, theatre seats, scripts and films from the early twentieth century, among them documentaries, early fiction films, musical melodramas and war reports. As Mr Farouk shows them the history of struggle in their city, Beirut, through footage, the young girls start to delve deeper, with the three producing a kind of montage. This exercise makes the history of the city palpable, allowing them not only to understand its complex past but also to project into the future the desire for a possible city. 

Edificio Sabatini, Jardín (acceso: Edificio Sabatini, Entrada principal)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 17 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Luis Ospina and Jerónimo Atehortúa, Mudos testigos (Silent Witnesses), film, 2023
Actividad pasada Saturday, 20 July 2024 - 10pm
Session 6

Luis Ospina y Jerónimo Atehortúa. Mudos testigos (Silent Witnesses)
Colombia, 2023, colour, original version in Spanish, 78’
— With a streamed presentation by one of the film’s directors, Jerónimo Atehortúa

The conserved remnants of the origins of Colombian cinema are few. In an exercise of recovering memory, film-makers Jerónimo Atehortúa and Luis Ospina assemble in this work fragments of films from Colombia’s silent cinema era to compose a three-act melodrama. Bit by bit, the film delves into absence: What is behind the melodrama of a poor boy who loves a girl who must marry a rich man? The film explores the history of the first half of the twentieth century in the country and the tensions between social classes in an exercise on the recovery of a near-lost filmic past.   

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 17 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

The Artist’s Life I

Programme 4

For many directors, although film is a great source of pleasure, it is also capable of creating dangerous fixations. Under this premise, the fourth programme brings together two historical films which are wonderfully shot, each in their own particular way: while Llorenç Llobet Gràcia whispers about this risk in post-war Spain, Iván Zulueta screams it out during the Transition to democracy.  

Llorenç Llobet Gràcia, Vida en sombras (Life in Shadows), film, 1949
Friday, 26 July 2024 - 10pm
Session 7

Llorenç Llobet Gràcia. Vida en sombras (Life in Shadows)
Spain, 1949, black and white, original version in Spanish, 90’. Acknowledgments to Filmoteca de Catalunya

With its rich filmic language, this work portrays the life of a man shaped by film who is born amid a screening and who, in each stage of life, experiences the best and worst of his obsession with the medium, a fixation that leads him to become a director and put his loved ones in danger at the height of the Spanish Civil War. Film is put forward as a kind of ambivalent love affair, generating dilemmas and manipulation as it also creates memorable images. The work, the only professional feature film made by amateur film-maker Llorenç Llobet-Gràcia, is a dramatised version of his life and with a standing in the history of Spanish film owing to its recovery in the 1970s and subsequent restoration in 2012.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 24 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Iván Zulueta, Arrebato, película, 1979
Saturday, 27 July 2024 - 10pm
Session 8

Iván Zulueta. Arrebato (Rapture)
Spain, 1979, colour, original version in Spanish, 110’
Museo Reina Sofía Collection

A cult film during the Transition to democracy period in Spain and Iván Zulueta’s magnum opus, Arrebato (Rapture) is about one film-maker who manages to cannibalise another, exploring cinema and an art that sucks blood, that devours. An art which, when turned into an obsession, is as addictive as a drug. Amid a creative block and relationship break-up, a film director receives a package with footage of an eccentric he knows. As he starts to see the images, they transform into both his main source of interest and difficulties given that the sender’s relationship to cinema is so macabre that it ends up impacting the protagonist, just as it affected Zulueta, who would not shoot another feature film after this work.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 24 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Live by Narrating, Live by Filming

Programme 5

Programme number five gathers two recently made films in which making and living are inseparable. Both works think about film as it is being produced, depicting two crises: locked-down filming during the COVID-19 and a heartfelt mourning. The same question sweeps through the two pieces: Can film make us better?  

Maureen Fazandeiro y Miguel Gomes, Diários de Otsoga (The Tsugua Diaries), film, 2021
Friday, 2 August 2024 - 10pm
Session 9

Maureen Fazendeiro y Miguel Gomes. Diários de Otsoga (The Tsugua Diaries)
Portugal, 2021, colour, original version in Portuguese with Spanish subtitles, 102’

Crista, Carloto and João spend the summer together, partying, building a butterfly house, sunbathing and building and knocking down routines in a country house. Yet this is not any old summer — it is the first of the COVID-19 pandemic and important for all three to construct illuminating routines. The three protagonists are actually part of a film crew locked down to make a film, a team who, small yet diverse, are more accustomed to shooting bright and breezy films outdoors and, when faced with this out of-the-ordinary situation, must find a way of dealing with the challenge together, leading them towards numerous discussions about cinema.      

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 31 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

María Aparicio, Las cosas indefinidas (Undefined Things), film, 2023
Saturday, 3 August 2024 - 10pm
Session 10

María Aparicio. Las cosas indefinidas (Undefined Things)
Argentina, 2023, colour, original version in Spanish, 81’
— With a streamed presentation by the film’s director, María Aparicio

Eva, the protagonist of this story, has been a film editor and teacher for a long time. She has always worked with friends, one of whom, Juan, dies suddenly before both finish editing a new short film. The loss engulfs everything: the classes, the days of editing, the conversations. In the meantime, Eva and Rami, her assistant, work on editing a film on blindness, defined by one of the characters as a backdrop of emptiness. And, in point of fact, Eva suffers from a kind of emotional blindness: she is moving towards a loss of faith in film. Las cosas indefinidas (Undefined Things) seeks to modestly return this faith in film to its protagonist through her work — the images of her film inside the film — her personal objects, her conversations and her friends.  

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 31 July (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

The Last Cinemas

Programme 6

The films chosen for this programme render a portrait of two adult cinemas: one in New York’s Times Square in 1983, the other in Madrid’s Tirso de Molina area in 2013. Two different eras of the circulation and consumption of pornographic images. And the main characters? The workers in these cinemas and some of their clientele. The film theatre is presented as the stage for dying-breed neighbourhoods and communities, as imperfect as they are beautifully human.  

Bette Gordon, Variety, film, 1983
Friday, 9 August 2024 - 10pm
Session 11

Bette Gordon. Variety 
USA, 1983, colour, original version with Spanish subtitles, 97’. Acknowledgements to Play-Doc, Festival Internacional de Cine de Tui
—With a streamed presentation by the film’s director, Bette Gordon

In this thriller, set in New York’s Lower East Side, a vacant, dilapidated neighbourhood sent into decline by decades of neoliberal urban planning, Christine (played by Sandy McLeod), a woman with artistic ambitions, has money worries and is looking for a job. Her friend, played by artist Nan Goldin, tells her a downtown adult theatre needs a ticket-taker. Her place as the custodian of the theatre awakens in her certain obsessions which concur with the presence of a wealthy man (Richard M. Davidson) among the patrons, and a kind of mafia attraction Christine becomes fixated on, leading both to play a game of cat and mouse.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 7 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Omar A. Razzak, Paradiso, film, 2013
Saturday, 10 August 2024 - 10pm
Session 12

Omar A. Razzak. Paradiso
Spain, 2013, colour, original version in Spanish, 70’
— With a presentation by Hola Vecinas, a cultural and social association from Madrid’s Lavapiés neighbourhood

The Duque de Alba cinema is the only adult theatre left in Madrid. The year is 2013, a time when films can be watched online, in the privacy of the home. The cinema only has a few loyal patrons left, and only a few employees, whose loyalty is even greater. Together they are a small family who even share moments together leading up to Christmas. The cinema is a space of affect and conversations about the medium (and all types of films); however, its days are numbered: the ticket-taker is on the verge of retirement and the area is beginning to feel the dreaded effects of gentrification. The film records its final days, and the bonds and the nooks of the space in a slowly vanishing community.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 7 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Actresses Under Construction II

Programme 7

What is an actress and what mark does her body leave on history? In exploring two characters, the story of actress and singer Jane Birkin and the fictional Watermelon Woman, the films selected for this programme devoted to portraits, real or fictitious, think about film as the building of identities. 

Agnès Varda, Jane B. par Agnès V. (Jane B. for Agnès V.), film, 1988
Friday, 16 August 2024 - 10pm
Session 13

Agnès Varda. Jane B. par Agnès V. (Jane B. for Agnès V.)
France, 1988, colour, original version in French with Spanish subtitles, 97’

This film tells the story of how actress and singer Jane Birkin was apprehensive about her imminent fortieth birthday when Agnès Varda, close to sixty herself, told her that it was a beautiful age. Thereafter, they began work on this film, reflecting on the footprint Birkin had left in the world (and vice versa). The film assembles memories, recreations and inventions on her works, travels, daughters, partners, parents and places (English and French), with everything mixed in this unconfigured (“auto”)biography which raises the question: What is a portrait? 

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 14 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Cheryl Dunye, The Watermelon Woman, film, 1996
Saturday, 17 August 2024 - 10pm
Session 14

Cheryl Dunye. The Watermelon Woman
USA, 1996, colour, original version in English with Spanish subtitles, 90’
— With a streamed presentation by Rioko Fotabon, a writer and anti-racist activist

The Watermelon Woman is a romantic comedy, a fiction about a fictitious archive, among many other things. Cheryl (played by the film’s director, Cheryl Dunye) is a Black lesbian woman who wants to be a film-maker. She works with her friend and partner in a video rental store, with both also doing weddings and birthdays to gain experience, money and equipment in the hope that, at some point, it might kick-start their film-making. Interested in the presence of Black women in film history, Cheryl starts to watch films featuring Black actresses, particularly those from the 1930s and 1940s, and, consequently, discovers Fae Richards, the Watermelon Woman, an actress she had never heard about. As she interviews specialists, viewers and her relatives, Cheryl discovers that Richards was, like her, a lesbian, heightening her interest further. Her investigation subsequently becomes a film of archive adventures.   

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 14 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

The Artist’s Life II

Programme 8

Film-makers, like most artists, draw from numerous methods to find inspiration. Travel is the chosen formula of the protagonists in the two films making up this programme, showing us how classical American film and today’s European auteur cinema explore, deep down, the same ideas.  

Mia Hansen-Løve, Bergman Island, film, 2021
Friday, 23 August 2024 - 10pm
Session 15

Mia Hansen-Løve. Bergman Island
France, 2021, colour, original version in English with Spanish subtitles, 112’

In Bergman Island a film-making couple, suspiciously like the marriage of Mia Hansen-Løve and Olivier Assayas, a film-maker and huge admirer of Ingmar Bergman’s work, travel to the island of Fårö, in Sweden, to find inspiration and write their next feature film, living and working as the Swedish director did. With a lightness of touch and tenderness, Hansen-Løve films this homage to summer and the more pleasant and vitalist side of Bergman, as captured in Sommaren med Monika (Summer with Monika, 1953). The film maintains that creation and life are connected and that both have their sweet and agreeable moments.    

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 21 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Preston Sturges, Sullivan’s Travels, film, 1941
Saturday, 24 August 2024 - 10pm
Session 16

Preston Sturges. Sullivan’s Travels
USA, 1941, black and white, original version in English with Spanish subtitles, 90’

John L. Sullivan (played by Joel Albert McCrea), a successful film director who specialises in comedies, wants to take his career in a different direction and looks for inspiration to write his first drama. To gain an idea of the more impoverished side of the USA, still shaken by the Great Depression, he decides to dress accordingly and travel the country working precarious and temporary jobs. His exploits, however, are proof that the shift required is more mental than physical. At once a road movie and romantic comedy, Sullivan’s Travels is a film about the power of fiction and the self-portrait of a director who wants to champion comedy, even after the devastating Crash of ‘29.      

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 21 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Tones of Comedy

Programme 9

The final programme in the series presents three comedies which confront, with humorous tones, the world of film by way of two of the best comics in the history of cinema: Buster Keaton and Jerry Lewis. Keaton plays a projectionist and an actor affected by the passing of time; Lewis a “mister nobody” who will be moulded to become a star.

Buster Keaton, Sherlock Jr., film, 1924
Friday, 30 August 2024 - 10pm
Session 17

Alan Schneider y Samuel Beckett. Film
USA, 1965, black and white, original version without dialogue, 22’

Buster Keaton. Sherlock Jr. 
USA, 1924, black and white, original version in English with Spanish subtitles, 45’

This session brings together two films centred on Buster Keaton, whose expression has been recorded in multiple forms across the history of the medium. In Sherlock Jr., a fresh-faced projectionist, played by Keaton, looks to cinema to learn about life, yet, ultimately, he overdoses on learning, to such a degree that he sees film in every corner of reality. In love with a girl with another suitor, he starts to imagine himself inside a detective film, his awkwardness triggering all number of risible accidents. Film, meanwhile, shot forty years later, is the first and only film by writer and playwright Samuel Beckett. The work focuses on the eye of the camera, perception, time and the body of the actor.

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 28 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening

Jerry Lewis, The Patsy, film, 1964
Saturday, 31 August 2024 - 10pm
Session 18

Jerry Lewis. The Patsy
USA, 1964, colour, original version in English with Spanish subtitles, 101’

This film is a portrait of Hollywood as a relentless manufacturer of the show: an exercise in film within film, similar to a game of Russian dolls. A famous comedian dies in a plane crash, with his entourage — his team of writers, assistants, managers and administrators — concerned that they will be without work and a source of income. It is at this point that Stanley Belt enters the scene, played by Jerry Lewis, an unwittingly heavy-handed, chaotic and highly amusing character. It is obvious that Stanley is talentless, yet the machinery of showtime possesses all the tools to forcibly send him into homes around the world through television. As is common in Lewis’s other works, we find ourselves before a great comedy with agonising undertones.  

Sabatini Building, Garden (access: Sabatini Building, Main Entrance)

100 people

Admission

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 28 August (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the screening