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Friday Courses return to the Forum des images
Delphine Seyrig was far more than just a sophisticated on-screen muse, and this series of lectures invites you to discover her fierce legacy as a feminist filmmaker. Each session dives deep into the shifting landscape of seventies cinema through the lens of those who dared to defy convention. Grab your seat for an insightful evening of film history that goes well beyond the surface.
Forum des images (Paris 1st)
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Until October 30, join us for six courses related to the theme Be Beautiful and Shut Up!, a program celebrating Delphine Seyrig, a major figure in a cinema seeking emancipation.
Flat rate: €5
"Delphine Seyrig, icon of modernity, rebellious actress, feminist star" hosted by Alexandre Moussa
→ Friday, September 25 at 6:30 PM
« I am not an apparition, I am a woman ». Long associated with the ethereal and sophisticated figures she portrayed on screen, from Last Year at Marienbad to India Song, Delphine Seyrig was also a major figure of feminism and militant video. As a star and female icon, she was also a pioneer in critiquing the representation of women on screen. This paradox is at the heart of this course.
By Alexandre Moussa, lecturer in film studies
→ Followed by Last Year at Marienbad by Alain Resnais.
"From Histoires d'A to Z: landmarks and reflections on 70s cinema" hosted by Brigitte Rollet
→ Friday, October 2 at 6:30 PM
70s cinema is distinguished by sharp contrasts: popular success of political films, the emergence of low-budget films from the margins, and the heyday of pornographic and erotic films. In parallel, actresses turned to directing, offering unique and unprecedented perspectives.
An analysis of this somewhat surprising mix of a unique decade.
By Brigitte Rollet, researcher
→ Followed by The Pirate's Fiancée by Nelly Kaplan.
"Delphine Seyrig, rebellious feminist video artist, off the beaten track" hosted by Nicole Fernández Ferrer
→ Friday, October 9 at 6:30 PM
Delphine Seyrig, an actress committed to the feminist movement, learned video production from Carole Roussopoulos. With the Insoumuses collective, she subverted codes and norms. In 1982, she co-founded the Simone de Beauvoir Audiovisual Center, the only video and film archive dedicated to women, their rights, their creations, and their history.
By Nicole Fernández Ferrer, audiovisual archivist, translator, president of the Simone de Beauvoir Audiovisual Center
→ Followed by three films signed by Insoumuses by Delphine Seyrig and Carole Roussopoulos.
To learn more:
"Delphine Seyrig: from rebellious muse to queer icon" hosted by Jean Méranger-Galtier
→ Friday, October 16 at 6:30 PM
Delphine Seyrig's fame rests as much on her immense film career as on her feminist commitment. While her filmography crosses paths with LGBTQIA+ works and filmmakers, it remains largely rooted in the heteronormative standards of its time. Nevertheless, she remains a major figure in queer cinema. This paradox invites us to think about queer culture beyond mere LGBTQIA+ representation, as an aesthetic and political regime that can also emerge within heteronormative narratives.
By Jean Méranger-Galtier, producer and screenwriter
→ Followed by Daughters of Darkness by Harry Kumel.
"Why are men afraid of women? The cultural fabrication of misogyny" hosted by Chloé Thibaud
→ Friday, October 23 at 6:30 PM
From The Shining to Carrie, from Snow White to Desperate Housewives, pop culture is full of unsettling female figures. Why are women so often represented as threats? And what if this gynophobia were less of a reality and more of a cultural invention or even a political strategy?
By Chloé Thibaud, journalist and author
→ Followed by Medusa by Anita Rocha da Silveira.
"Gaze, looking and video. Politics of the point of view in cinema" hosted by Occitane Lacurie
→ Friday, October 30 at 6:30 PM
« Looking properly, I believe, is something one learns ». Spoken by Delphine Seyrig in Muriel (1963), this sentence becomes an invitation to think of the gaze as the foundation of the cinematic act. Gaze, look, point of view or standpoint... Throughout the history of struggles and ideas, critical thinking has shown how images convey the dominant ideology. How can we then make the gaze the starting point of a cinema politics?
By Occitane Lacurie, researcher, critic, video artist
→ Followed by Women Talking by Sarah Polley.
