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Another year, another scandal at the Cannes Film Festival. Contemporary filmmakers take heart—among the directors who have felt the wrath of the French festival’s fickle audiences are titans like Antonioni, Bresson, Truffaut, and Fellini. Many of their works, now heralded as masterpieces, were first met with incomprehension, disdain, and deafening jeers.
In this series, BAMcinématek gathers some of the most notorious films maudits, many of which are now revered as masterpieces.
Carl Theodor Dreyer’s final film is one of his greatest and most mysterious.
A priest develops a fixation with a murderess in Pialat’s stark rumination on faith.
Art-house siren Monica Vitti stars in Antonioni’s most abstract work.
The prequel to David Lynch’s cult TV show follows the last days of Laura Palmer.
A couple goes on the run through a nightmarish South in David Lynch’s surreal soap opera.
Jean Eustache’s post-New Wave masterwork about the perils and pitfalls of modern romance.
Fellini’s last film is a sprawling fantasia of phantasmagorical imagery.
David Cronenberg's mind-bending exploration of sex and technology.
Scorsese’s expressionist urban nightmare courted controversy since its premiere at Cannes.
Bresson’s final film follows a forged 500 franc note as it changes hands.
Buñuel’s perverse, sacred-cow-skewering portrait of a husband gripped by jealousy.
Jeanne Moreau stars in this tale of rage and depravity adapted from a Jean Genet story.
A man tries to start over with a new face in this sci-fi chiller by John Frankenheimer.
A man hides his extramarital affair in “one of Truffaut’s best” (J. Hoberman).
The romance between a soldier and a young man blossoms into a folkloric fable.