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Le Samouraï

After professional hitman Jef Costello is seen by witnesses his efforts to provide himself an alibi drive him further into a corner.
Le Samouraï (1967)
(NR, 105 min.)


Friday, May 10, 2024

8:00 PM

Saturday, May 11, 2024

7:00 PM

Sunday, May 12, 2024

4:30 PM

Tuesday, May 14, 2024

7:00 PM

Restored in 4K by Pathé and the Criterion Collection at L’Immagine Ritrovata from the 35 mm original camera negative.

In a career-defining performance, Alain Delon plays Jef Costello, a contract killer with samurai instincts. After carrying out a flawlessly planned hit, Jef finds himself caught between a persistent police investigator and a ruthless employer, and not even his armor of fedora and trench coat can protect him. An elegantly stylized masterpiece of cool by maverick director Jean-Pierre Melville, Le samouraï is a razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture—with a liberal dose of Japanese lonewarrior mythology. [Janus]

Starring: Alain Delon, François Périer, Nathalie Delon
Director: Jean-Pierre Melville
Language: French
Genre(s): Crime, Drama, Thriller

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"One of [Jean-Pierre Melville's] best."

— Peter Rainer, FilmWeek (KPCC - NPR Los Angeles)

"Achieves an atmosphere of mesmerizing, otherworldly beauty and grace."

— Nick Schager, Slant Magazine

"An austere poem of crime, Le Samourai manages to have a grip of an old-fashioned potboiler as well. Not a half-bad combination."

— Kenneth Turan, Washington Post

"[Melville's] style remains haunting and elegantly spare, just right for the kind of hit man who lives in silence, in bare and colorless surroundings, with a lonely caged bird."

— Janet Maslin, New York Times

"It combines stylish direction, an intelligent script, first-rate performances, and overpowering atmosphere into one of the most tense and absorbing thrillers ever to reach the screen."

— James Berardinelli, ReelViews

"Filmmakers as diverse as Quentin Tarantino and Paul Schrader were influenced by Melville, and Hong Kong action director John Woo calls the film 'the closest to a perfect movie that I have ever seen.'"

— Edward Guthmann, San Francisco Chronicle