Previously Played


  • 1:00
  • 3:10
  • 5:20
  • 7:30
  • 9:40

$7 Member   $12.50 Regular

Directed by LEOS CARAX




(1986) Did Michel Piccoli and Hans Meyer’s partner jump or was he pushed? Either way, the American Lady wants her money in two weeks. To pull a new job, they’ll need partner’s son Denis Lavant, busy now dumping petite amie Julie Delpy and reinventing alienation — and then he meets Piccoli’s 30-years-younger girlfriend Juliette Binoche. But that’s just the plot of Carax’s deliriously intense mix of New Wave style with full-blown French Romanticism, its dazzling colors keyed to a retina-searing red, and complete with Lavant’s run/dance to David Bowie’s “Modern Love,” a hair-raising parachute jump by the stars (without stunt doubles), and cameos by comic book legend Hugo Pratt as the American hitman and Serge (Becker’s Casque d’Or, Melville’s Le Doulos) Reggiani as the airport owner. Approx. 116 min. DCP.


MAUVAIS SANG Poster available at concession







New poster on sale at our concession
$20 plus tax



 [highest rating]
"CARAX'S GORGEOUS, MOVIE MAD TRIBUTE! Film noir fatalism nuzzles next to Murnau-like silent vignettes and slapstick shaving-cream fights. After watching 
Lavant execute a cartwheel with Gene Kelly-worthy grace to "Modern Love," you will never think of the Bowie song the same way again."
– David Fear, Time Out New York

"ENDLESSLY ROMANTIC! A salute, at once moody and ebullient, to the cinema of the past and the ferocious intensity of youth.   Mauvais Sang shows us that who Carax was "back then" is still who he is today: a creator of singularly expansive, breathtaking cinema."
– Melissa Anderson, Village Voice

"Go to see a cinematic quartet of now-famous artists in their infancy; stay for the exhilarating film they create."
– John Oursler, The L Magazine

Click here to read Dan Sullivan's Film Comment review

"Playfully Godardian toying with film-noir tropes! Carax is more of a poet than a prose writer and the jumpiness of his vision is such that the film often reaches the senses before the mind, with its images speaking most immediately through its expressionistic flourishes."

– Kalvin Henely, Slant

"A MASTERPIECE OF ECSTATIC CINEMA! With an emotional world akin to Godard's early films, and a magical sensibility that owes much to Cocteau."
– Richard Brody, The New Yorker

“CARAX'S MOST PURELY DELIGHTFUL WORK! Bittersweet, haunting, and as original and eccentric as homage movies get, infusing arch neo-Godard poetics with grace notes cribbed from Griffith, Chaplin, and Cocteau. The noir and crime-caper elements, not to mention the problematic sci-fi-inflected AIDS allegory, are so flatly rendered as to be beside the point — as story lines almost always are in Carax’s exalted cinema of velocity and sensation. This is chiefly a movie of pulse-quickening epiphanies, a somehow cohesive succession of lovely curiosities and intoxicating derangements.”
– Dennis Lim, Village Voice

“Carax combines his personal concerns — young love, solitude — with the stylised conventions of the vaguely futuristic romantic thriller. His virtues are visual and atmospheric rather than narrative; while the script may occasionally smack of indulgent pretension, there is no denying the exhilarating assurance of individual sequences, and the consistency of Carax’s moodily romantic vision. The film is affecting, thanks to a seemingly intuitive understanding of color, movement and composition, and to an ability to draw from earlier films without ever seeming plagiaristic.”
– Geoff Andrew, Time Out (London)