Celebrate screen icon Catherine Deneuve with three of her classic films shown on 35mm. This summer the Norton Herrick Center presents Cosford Classics with a series THE DIVINE DENEUVE looking at three spectacular films starring Catherine Denevue. In addition, the Cosford will be playing contemporary Catherine Deneuve films, such as IN THE NAME OF MY DAUGHTER. Please join us for these exclusive screenings presented on 35mm as Cosford Classics. Tickets for the Divine Deneuve screenings are only $5.

Saturday, May 30 – 8PM

Roman Polanski followed up his international breakthrough KNIFE IN THE WATER with this controversial, chilling tale of psychosis. Catherine Deneuve is Carol, a fragile, frigid young beauty cracking up in her London flat when left alone by her vacationing sister. She is soon haunted by specters real and imagined, and her insanity grows to a violent, hysterical pitch. Thanks to its disturbing detail and Polanski’s adeptness at turning claustrophobic space into an emotional minefield, REPULSION is a surreal, mind-bending odyssey into personal horror, and it remains one of cinema’s most shocking psychological thrillers.

Directed by Roman Polanski.
UK/Poland. 1965. 105minutes.

Saturday, June 6 – 8:30PM

Gérard Depardieu and Catherine Deneuve star as members of a French theater company living under the German occupation during World War II in François Truffaut’s gripping, humanist character study. Against all odds—a Jewish theater manager in hiding; a leading man who’s in the Resistance; increasingly restrictive Nazi oversight—the troupe believes the show must go on. Equal parts romance, historical tragedy, and even comedy, THE LAST METRO (Le dernier métro) is Truffaut’s ultimate tribute to art overcoming adversity. In 1980 the NEW YORK TIMES gave the film “Five Stars” and called it “a dazzling subversive work.”

Directed by Francois Truffaut.
France. 1979. 131minutes.

THE HUNGER on 35mm
Saturday, June 13 – 8:00PM

The exquisitely beautiful Catherine Deneuve plays Miriam, a centuries-old vampire capable of bestowing the gift of immortality on her lovers — namely her current partner John (David Bowie). To sustain their sanguinary requirements, the pair cruises New York nightclubs in search of victims (as illustrated in a stunning opening sequence to the accompaniment of “Bela Lugosi’s Dead” performed by seminal Goth band Bauhaus). When John awakens one morning to discover telltale signs of aging, it is revealed that his own sustained youth is not permanent, and his physical decrepitude begins to increase at an incredible rate. In a panic, John visits the clinic of scientist Sarah Roberts (Susan Sarandon), who has recently published a book on reversing the aging process, but she initially dismisses him as a crank, leaving him to sit in the lobby for several hours… during which his body ages several decades. After learning of his condition, Sarah traces John to his uptown flat. John is nowhere to be found, having been consigned by Miriam to a box in the attic with her legions of undead loves, leaving Miriam to deal with Sarah — which she does quite effectively, seducing her into a steamy lesbian tryst. Their passion is consummated by a mingling of Miriam’s blood with Sarah’s, which later manifests itself as a psychic link between the two women and leaves Sarah with a rapidly-increasing appetite for blood.

The film will be introduce by film critic Juan Barquin of MIAMI NEW TIMES and DIM THE HOUSE LIGHTS.

Directed by Tony Scott.
USA. 1983. 97minutes.