Anatomy of Hell

  • March 18, 2014 / 19:30
  • March 22, 2014 / 15:30

Director: Catherine Breillat
Cast: Amira Casar, Rocco Siffredi

France, 77’, 2004, color
French with Turkish subtitles

A woman attempts suicide in a gay bar; a man saves her at the last moment. When he asks her why she tried to commit suicide she says: “Because I am a woman.” An agreement with the man for “watching and recounting her” in exchange for money and four nights spent in a house built just beside a steep cliff… Anatomy of Hell, where Breillat focuses on a woman’s desires with her sharp and genuine point of view, takes start.

Advisory warning: Suitable for adult audiences only. Contains scenes of nudity and violence which some audiences may find disturbing.

Anatomy of Hell

Anatomy of Hell

Blue Beard

Blue Beard

The Last Mistress

The Last Mistress

Romance X

Romance X

Sleeping Beauty

Sleeping Beauty

Abuse of Weakness

Abuse of Weakness

Trailer

Anatomy of Hell

From the Age of Reason to the “Tortoise Trainer”

From the Age of Reason to the “Tortoise Trainer”

A Salon exhibition held in the Grand Palais in Paris on May 1, 1906 showcased an Ottoman painting. This was Osman Hamdi Bey’s famous “Tortoise Trainer”. 

Giacometti: Early Works

Giacometti: Early Works

Organized in collaboration with the Giacometti Foundation, Paris, the exhibition explores Giacometti’s prolific life, most of which the artist led in his studio in Montparnasse, through the works of his early period as well his late work, including one unfinished piece. Devoted to Giacometti’s early works, the first part of the exhibition demonstrates the influence of Giovanni Giacometti, the father of the artist and a Swiss Post-Impressionist painter himself, on Giacometti’s output during these years and his role in his son’s development. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.