La vie au ranch

Director: Sophie Letourneur
Cast: Sarah-Jane Sauvegrain, Eulalie Juster, Mahault Mollaret
France, 90’, 2009, color
French with Turkish subtitles

In her debut feature, which has drawn comparisons to late French masters Rohmer and Rouch, Letourneur insightfully and humorously portrays the seemingly quite happy daily life of a small group of bohemian girls living together on the left bank in what they call their “Ranch.” A tight-knit circle of 20-somethings, Lola, Pam, Manon, Chloé and Jude—all played by non professionals, and all friends in real life—are smart, somewhat naïve, and often temperamental, spending their days drinking, smoking, laughing, dancing, gossiping, and discussing their love lives, until each realizes they must break from the group to pursue their own lives. Part of ACID’s 2010 Cannes sidebar, La vie au ranch was a festival favorite, screening at Viennale, Vancouver, Sydney, Belfort (where it won the Best French Film Award), and the International Film Festival Rotterdam. Letourner’s semi-autobiographical first feature seamlessly combines performances from amateur actors, layered dialogue, and real-life cast experiences.

Summer of Giacomo

Summer of Giacomo

Nous princesses de cleves

Nous princesses de cleves

Belle Épine

Belle Épine

Un poison violent

Un poison violent

Memory Lane

Memory Lane

La vie au ranch

La vie au ranch

Giacometti’s Final Works

Giacometti’s Final Works

Giacometti was selected for three important retrospectives at the New York Museum of Modern Art, the Tate Gallery in London and the Louisiana Museum of Art in Denmark, all of which were a great success. 

Soothsayer Serenades I Two-handed by Kübra Uzun

Soothsayer Serenades I Two-handed by Kübra Uzun

Today we are thrilled to present the first playlist of Amrita Hepi’s Soothsayer Serenades series as part of the Notes for Tomorrow exhibition. The playlist titled Two-handed is presented by Kübra Uzun on Pera Museum’s Spotify account.

The Search for Form

The Search for Form

A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.