France/1979—directed by François Truffaut

Bed and Board was conceived as the last part of the Doinel saga, but Truffaut decided nearly a decade later to make one more visit to Antoine, this time in his thirties, to see if adulthood resulted in a less chaotic life.

Antoine’s memories of childhood and adolescence materialize through sequences from the previous films―a dazzling cinematic scrapbook of Jean-Pierre Léaud from ages 14 to 35. Ultimately, Antoine is who he’s always been, measuring the loves of his life against the romantic dreams that have never ceased to grip him. (95 min.) 

“Truffaut is a master of his art… Love on the Run is a rousing success.” -David Sterritt, Christian Science Monitor

Tickets to each of Truffaut's Antoine Doinel films showing at the DIA are available separately, but for those who want the full experience, a pass to all five films to this once-only “Antoine-a-Thon” is available here for just $20.

France/1970—directed by François Truffaut | 97 min.

The fourth chapter in the chronicle of Antoine Doinel finds him on the horns of a new dilemma. Struggling to find steady work while his wife is pregnant with their first child, Antoine makes a decisive move ―he jumps into an affair with another woman, convincing himself that he’s found perfection, or at least, perhaps, an escape route.

Bittersweet, comic, wise and sobering, Bed and Board steadily takes Antoine up to the fine line that separates adolescence from actual adulthood. 

“Bed and Board is one of the most decent and loving films I can remember. If it doesn't provide the outcome we would have expected for Antoine, it will do.” -Roger Ebert, Chicago Sun-Times 
 

Tickets to each of Truffaut's Antoine Doinel films showing at the DIA are available separately, but for those who want the full experience, a pass to all five films to this once-only “Antoine-a-Thon” is available here for just $20.

Antoine and Colette

France/1962—directed by François Truffaut | 30 min

Truffaut’s charming and inspired 30-minute update on Antoine’s first steps toward adulthood after The 400 Blows shows our young hero three years later ―living on his own in Paris and hopelessly in love for the first of many times. 

Stolen Kisses (pictured)

France/1968—directed by François Truffaut | 91 min 

This third, breezy chapter in Truffaut’s chronicle of the never-easy adventures of Antoine Doinel (Jean-Pierre Léaud, as always) in the eventful year of 1968. Dishonorably discharged from the army and back on the streets of Paris, his new, unwisely chosen profession of private detective leads him to a myriad of comic encounters, impetuous choices, and the unending search for love.

Tickets to each of Truffaut's Antoine Doinel films showing at the DIA are available separately, but for those who want the full experience, a pass to all five films to this once-only “Antoine-a-Thon” is available here for just $20.

France/1959—directed by François Truffaut | 99 min. 

François Truffaut’s magnificent first feature was also his most personal. Told through the eyes of his cinematic counterpart Antoine Doinel (unforgettably played by 14-year-old Jean-Pierre Léaud), The 400 Blows re-creates the pivotal experiences of Truffaut’s own difficult childhood, including oppressive teachers, the lure of petty crime and the redemption to be found at the movies.

Antoine never quite grew up (as witnessed in four sequels made over 20 years) and consequently remained the character closest to Truffaut’s heart. In French with English subtitles.  

“I have never been so deeply moved by a picture.” -Jean Cocteau 

Tickets to each of Truffaut's Antoine Doinel films showing at the DIA are available separately, but for those who want the full experience, a pass to all five films to this once-only “Antoine-a-Thon” is available here for just $20.

Bolivia/2022—directed by Alejandro Loayza Grisi | 87 min. 

In the arid Bolivian highlands, an elderly Quechua couple has been living a tranquil life for years. Virginio (José Calcina) takes their herd of llamas out to graze, while his wife Sisa (Luisa Quispe) walks for miles with other local women to fetch precious water, which becomes scarcer every day due to an uncommonly long drought that threatens their existence.

Family tensions are ratcheted up by the arrival of their adult grandson Clever (Santos Choque), who brings news as well as advice: perhaps it’s time for the couple to give up the increasingly harsh burdens of their way of life and move in with family members in the nearby city of La Paz.

Now the three of them must face, each in their own way, the effects of a changing landscape and the meaning of life itself. A visually astonishing debut feature by photographer-turned-filmmaker Alejandro Loayza Grisi, this resonant drama was photographed in ravishing widescreen by Barbara Alvarez (The Second Mother). Winner, Grand Jury Prize for Dramatic World Cinema, 2022 Sundance Film Festival. In Quechua and Spanish with English subtitles. 
 

Morocco/2021—directed by Nabil Ayouch | 101 min. 

Director Nabil Ayouch drew on his own experience opening a cultural center in Casablanca for this story of a former rapper named Anas (Anas Basbousi) who takes a job teaching hip-hop in an underprivileged neighborhood. Despite differences in identity, religion, and politics, Anas encourages his young students to bond and break free from restrictive traditions in order to follow their passions.

Featuring a dynamic ensemble of first-time actors, Casablanca Beats is a vibrant coming-of-age musical with a feminist edge that transports viewers far from familiar clichés—cinematic and otherwise—about the Arab world. Official Selection, Cannes Film Festival. In Arabic with English subtitles.  

“Casablanca Beats infects the audience with the unshakable belief that a person who has self-confidence and self-expression can really change society.” -Deborah Young, The Hollywood Reporter 

USA/France/Switzerland/UK/2018—directed by Julian Schnabel | 111 minutes

Julian Schnabel’s unconventional, visionary imagining of Van Gogh’s time in Arles and Auvers-Sur-Oise might be described as the melding of striking, visual stream-of-consciousness imagery with a contemplative, spiritual center worthy of Chekhov.

Though the film’s controversial approach to Van Gogh can leave a fan of more conventional “biopics” equally dazzled and disoriented, there can be little disagreement as to the hypnotic and transfixing intense performance of the astonishing Willem Dafoe, who brings to the screen a Van Gogh both blazingly intense and achingly vulnerable. As with Van Gogh’s greatest paintings, you simply can’t look away.