François De Menil

François de Menil and Monique Alexandre's short portrait of artist Niki de Saint Phalle, shot in 16mm, 1982.

François de Menil and Monique Alexandre's short portrait of artist Niki de Saint Phalle, shot in 16mm, 1982.

François de Menil and Monique Alexandre's short portrait of artist Niki de Saint Phalle, shot in 16mm, 1982.

어느날 우연히 똑같이 실직을 당한 선량하면서도 엉뚱한 데가 있는 스킵과 해리는 뉴욕을 떠나 캘리포니아로 가서 새 생활을 하기로 의기투합한다. 글렌보로라는 마을에 도착한 스킵과 해리는 그곳 은행에 취직하여 고객 확장을 위해 딱따구리 복장을 입고 재미있는 춤과 노래 부르는 일을 하는데, 어느날 2인조 은행 강도가 이들과 똑같은 복장을 입고 은행을 털어 달아난다. 누명을 쓴 스킵과 해리는 곧 잡혀서 125년형을 선고 받아 형무소에 가게 된다. 스킵은 로데오 내기에 빠져 있는 형무소장 월터 비티의 눈에 띄어 연례 형무소 대항 로데오 경기에 출전하게 된다. 스킵과 해리는 동료죄수인 로리, 세수스와 함께 로데오 경기가 벌어지는 틈을 타 탈출하기로 계획을 세운다. 한편 두 사람이 무죄임을 확신한 변호사 가버와 그의 사촌 여동생 메리디스는 끈질긴 추적 끝에 진범들을 잡는데 성공한다. 이 사실을 모르고 로데오 경기에 출전한 스킵은 경기 도중 해리, 세수스, 로리와 함께 탈출을 하고, 무죄가 된 해리는 메리디스의 사랑도 얻는데...

North Star: Mark di Suvero is a 1977 documentary film about Mark di Suvero that was produced by François de Menil and Barbara Rose. Born in 1933, di Suvero has become one of the most recognized sculptors of the late 20th and early 21st centuries. From about 1975 to 1977, fairly early in di Suvero's long career, filmmaker de Menil and art historian Rose produced this film, which was characterized at the time as "a tribute to the extraordinary work and life of the innovative American sculptor of monumental but delicate constructions." The film shows di Suvero making and installing several of his very large sculptures, and incorporates informal interviews of di Suvero, his mother, and others involved in his career and life at that time. From 1971 to 1975 di Suvero, an American, lived in a self-imposed exile in France in protest of US involvement in war in Vietnam and Southeast Asia, and the filming spans the end of his exile and his return to New York.

North Star: Mark di Suvero is a 1977 documentary film about Mark di Suvero that was produced by François de Menil and Barbara Rose. Born in 1933, di Suvero has become one of the most recognized sculptors of the late 20th and early 21st centuries. From about 1975 to 1977, fairly early in di Suvero's long career, filmmaker de Menil and art historian Rose produced this film, which was characterized at the time as "a tribute to the extraordinary work and life of the innovative American sculptor of monumental but delicate constructions." The film shows di Suvero making and installing several of his very large sculptures, and incorporates informal interviews of di Suvero, his mother, and others involved in his career and life at that time. From 1971 to 1975 di Suvero, an American, lived in a self-imposed exile in France in protest of US involvement in war in Vietnam and Southeast Asia, and the filming spans the end of his exile and his return to New York.

A young man recalls his affair with a young French woman who traveled with him across the United States. They began to drift apart during the trip, and eventually each had affairs with other people before realizing that their relationship had run its course.

A young man recalls his affair with a young French woman who traveled with him across the United States. They began to drift apart during the trip, and eventually each had affairs with other people before realizing that their relationship had run its course.

A young man recalls his affair with a young French woman who traveled with him across the United States. They began to drift apart during the trip, and eventually each had affairs with other people before realizing that their relationship had run its course.

Shot as a proposed short film behind Iggy Pop's Ann Arbor, MI estate and summarily rejected by Elektra Records as promotional material for Nico's 1968 album, The Marble Index, Evening of Light is a gothic fantasy in a barren cornfield. Nico's song of the same name accompanies the eerie visuals.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

Filmic portrait of Niki de Saint Phalle's HON, a temporary indoor sculpture installation for the Moderna Museet of Stockholm.

In this revealing documentary, patron, collector, and curator Dominique de Menil hangs the 1973 exhibition "Inside the Sight," in conversation with Max Ernst, the 20th-century Surrealist artist. From installation to opening party, the events that transpire, as captured by filmmakers John and Francois de Menil, provide a rare and intimate glimpse into the process of making an exhibition.