urban screens #5 Cinema Utopia, December 8, 2022, Bordeaux.

urban screens #5 Thursday, December 8, 8:00 p.m. Cinéma Utopia
entrance fee: 7 €
Thursday 8 December 2022, 20:00 The Tenth Victim of Elio Petri 1965 (92′) Cinéma Utopia Bordeaux

Cinema Utopia Place Camille Jullian Bordeaux Bordeaux 33000 Gironde Nouvelle-Aquitaine[{«link»:«[{« link »:«

urban screens #5

city ​​architecture landscape at the cinema

Thursday, December 8, 2022, 8:00 PM
The Tenth Victim ofElio Petri 1965 (92′)
Session presented in collaboration with the MADDas part of the exhibition Nanda Vigo.
The session would be followed by a discussion with Emanuele Quinz and Victoire Browncurator of the exhibition.

design & crime

The first modernity, whether we speak of architecture or design, was built on the same presupposition: that of the fundamentally alienating nature of ornament. Beyond the Lossian cliché denouncing the criminal nature of ornament, the effort to rid buildings and furniture of their ornamental attributes is considered, at least in the first half of the 20th century, as an emancipatory act; a release from the superfluous which places function at the center of the building and its attributes. So what happened in the meantime so that, at the end of the 1960s, Elio Petri could represent modern design and architecture as the extreme and totalizing form of cultural, social and political alienation? Probably, the emergence of a mass, consumerist, overwhelming and uniform modernity.

In The Tenth Victim, the setting of the dystopian world imagined by Petri is not very different from that real and fantasized of a modernist globalized metropolis. This material, which crosses Rome and New York indiscriminately, is made of glass walls, designer furniture and geometric paintings. What sets it apart is the game and especially its rules. People indulge in strange media duels. Cocktails in hand, evolving in licked modernist interiors, they wonder if they will be victim or executioner during the next draw of the big computer, which is necessarily based in Geneva.
Marcello Mastroianni, dyed a blond that makes him unrecognizable, faces the divine Ursula Andress in a fight with an uncertain outcome. An allegory of marital negotiations, the scenario places this infernal balance of power in a modernist setting. The characters suffocate in stuffy clothes, uncomfortable chairs, sanitized interiors. The archetypal prison of the second half of the 20th century is a villa whose bay windows overlook a well-trimmed lawn.
The climax of this dismal representation of modernity is reached when Marcello goes with Ursula to his ex-wife’s villa to retrieve some money that would be stored there. The interior, conducive to a James Bond love scene, degenerates into a parody when the existence of a secret room is revealed where the elderly are hidden, less and less tolerated in this perfectly cruel world.
The discomfort is increased tenfold by the sculptures that surround the house. The casts of men and women performing everyday acts are barely concealed references to the calcified bodies of Pompeii, or their modern variant, the mannequins of the nuclear tests in Nevada. This decor complements Petri’s verdict on the deadly nature of modern design. The uncluttered world that surrounds it is a post-apocalyptic setting. He was stillborn.

cycle urban screens city architecture landscape

at the Utopia cinema, 5 place Camille Julian, Bordeaux
entrance fee: 7 €

Start and end dates and times (year – month – day – hour):

@The Tenth Victim of Elio Petri 1965