Gus Van Sant, the American filmmaker directs Trouble, a show inspired by Andy Warhol, in Paris until December 18th.

Gus Van Sant

A mythical figure

The multi-award winning filmmaker signs a first stage opus inspired by the mythical figure of Andy Warhol. working daily, the Pop Art star reigns supreme in his workshop studio, the Factory, where the New York underground art scene converges. Between the walls of vast contemporary art galleries, ten young performers dressed in pop colors embody an impeccably composed storyboard by Gus Van Sant. The well-orchestrated succession of paintings in Trouble reveals the extent of the protean talents of the American artist, a virtuoso in the art of observing and restoring an effervescent youth. Andy Warhol occupies a prominent place there, but is also surrounded by other figures of this era, such as the writer Truman Capote, the actress Edie Sedgwick or the art critic Clement Greenberg.

The influence of a community of artists on the world

Multifaceted artist, Gus Van Sant once again shows the extent of his talent, in his observation and the restitution of a youth and an era. In addition to the heartfelt tribute, it also focuses on the influence of a community of artists on the world. A jack-of-all-trades artist graduated from the Rhode Island School of Design, passionate about painting and music, Gus Van Sant is one of the most surprising directors of American independent cinema. It was in 1985 that he directed his first feature film, Mala Noche, a gay drama filmed in black and white, hailed by critics. Filmmaker inspired by the marginality and the rejects of well-meaning American society, he continues with Drugstore Cowboy (1989), a road trip of two junkies, inspired by the eponymous novel by James Fogle, then he directs River Phoenix and Keanu Reeves as lost prostitutes in My Own Private Idaho (1992). Uma Thurman and Nicole Kidman respectively lend body to the heroines of Even Cowgirls get the Blues and Prête à tout.

La Grande Halle de la Villette

between December 15 and 18.

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