Please find ticket and showtime information on Metrograph's website.
The legendary couture designer Yves Saint Laurent (1936-2008) was acutely aware of just how intense the relationship between clothing and camera can be. In many ways, his understanding of garment as image, expressed through his collaboration with dozens of the greatest fashion photographers, set the framework for a whole industry.
In conjunction with ICP's major summer exhibition Yves Saint Laurent and Photography, the Dressed by Yves Saint Laurent film series at Metrograph showcases the best of Saint Laurent’s remarkable costume work for cinema. His genius for understated style and unexpected detail suited artfully disruptive and visually seductive directors such as Luis Buñuel, Alain Resnais, Luchino Visconti and Tony Scott.
Ticket Benefits +
- ICP Members receive discounted tickets to the screenings by showing their membership card at Metrograph's box office.
- Show your Dressed by Yves Saint Laurent x Metrograph movie ticket at ICP for reduced admission to visit the exhibition Yves Saint Laurent and Photography, on view through September 28, 2026.
Film Showtimes +
*Tickets go on sale four weeks before each screening. Showtimes will be updated as tickets are made available on Metrograph's website.
Friday, July 17 The Pink Panther Belle de Jour
Saturday, July 18 Pink Panther
Sunday July 19 The Pink Panther Belle de Jour
Friday, July 24 Belle de Jour Arabesque
Saturday, August 1 Stavisky
Sunday, August 2 Stavisky Arabesque
Friday, August 7 Conversation Piece
Sunday, August 9 Conversation Piece
Friday, August 14 The Hunger
Sunday, August 16 The Hunger
Saturday, August 29 Mississippi Mermaid |
About the Films +
Catherine Deneuve plays Séverine, a frigid bourgeoisie housewife impeccably turned out in Yves Saint Laurent and bored to tears with her conventional young husband, in Buñuel’s droll, deliciously perverse pillar of arthouse screen eroticism, which sees Séverine thaw and unleash her inner freak upon taking on weekday afternoon assignations at a local brothel, romping with visitors that include Pierre Clémenti’s metal-mouthed gangster and a Geisha Club member with a pair of Ben-Wa balls and a mysterious buzzing box… “Glittery, cool and urbane, Buñuel’s film looks just like Lubitsch à la mode—almost a design for living in the Playgirl era. But underneath it’s a bleak and sharp surrealist object.” —Raymond Durgnat, Metrograph "Catherine Deneuve’s wardrobe stands out in Luis Bunuel’s chilly bourgeois settings. Saint Laurent’s buckled shoes proved so popular with the public they were reissued and renamed Belle de Jour." —David Campany, Creative Director, International Center of Photography The film that introduced the inept-yet-enormously egotistical Inspector Jacques Clouseau, arguably Peter Sellers’s most indelible comic creation, as well as Henry Mancini’s immortal “Pink Panther Theme,” Edwards’s inspired spoof of the classical detective yarn à la Agatha Christie finds Clouseau pitted against a master jewel thief known only as the Phantom, who has set his sights set on absconding with the world’s largest diamond. - Metrograph "Saint Laurent dressed The Pink Panther’s star actresses, Claudia Cardinale and Capucine. The combination of slapstick comedy and high style set the tone for many movies that followed."—David Campany, Creative Director, International Center of Photography Donen’s “slick and satisfying” [Dave Kehr, Chicago Reader] Technicolor confection of romance, intrigue, flamboyant op-art inspired photography, and swank décor stars Gregory Peck as an American expert in hieroglyphics sucked into a criminal plot while doing a stint at Oxford and a sultry and seductive Sophia Loren as the woman who comes to his rescue. Frustrated with the scattershot script he’d been handed, Donen turned his focus to audiovisual experimentation, with the resulting feature part spy movie sendup, part over-the-top cinematic spree.—Metrograph "Sophia Loren’s wardrobe for this light-hearted tale of international intrigue is one of Saint Laurent’s lushest. Look out for the celebrated powder-pink gown." —David Campany, Creative Director, International Center of Photography From money laundering to influence peddling, casino gambling to dabbling in controversial politics, the life of Serge Alexandre, aka Stavisky, flashes before our eyes and we see the making and unmaking of the theatrically charming con artist who used turn-of-the-century France as his playground. Resnais’s biographical drama features the late Jean-Paul Belmondo, in one of his greatest roles, as the eponymous swindler, a real-life adventurer whose 1934 death remains a mystery to this day; Anny Duperey, as his wife; a standout Charles Boyer, in his penultimate performance, as his nobleman friend; and music by Stephen Sondheim, contributing his only full-length film score.— Metrograph "Filmed by the great Sacha Vierny, Alain Resnais’ cult classic set in the 1930s is visually intriguing riddle within a riddle. Saint Laurent designed the clothes for Anny Duperey, playing Stavisky’s glamorous and enigmatic wife." —David Campany, Creative Director, International Center of Photography Burt Lancaster reunited with his The Leopard director for Visconti’s penultimate film, an elegant odd-couple chamber drama in which the leonine “Boit” plays a graying American intellectual immured from the modern world in his Roman palazzo—until, that is, his fortress of solitude is invaded by a pushy Marquise (Silvana Mangano) who browbears him into renting her his unused top floor to be used as a gilded cage for her boytoy, Konrad (Helmut Berger), a ’68 activist turned gigolo to the gentry, who interrupts the old man’s bedtime Mozart with Italopop and nude pot parties. Best known for his work in the epic vein, Visconti here renders verbal close-combat every bit as thrilling as any dispatch from the battlefields of Europe.—Metrograph "Helmut Berger plays Konrad, the androgynous and decadent gigolo. Yves Saint Laurent defines his character with a wardrobe of not-quite casual knitwear, jackets and slacks." —David Campany, Creative Director, International Center of Photography A lush vampire romance with sex and style to spare, much of it provided by stars Catherine Deneuve and David Bowie as a couple of posh, centuries-old nightclubbing New York bloodsuckers who, when one begins to show the first signs of aging, recruit assistance from Susan Sarandon’s geriatrics researcher, then find themselves in a very, very attractive throuple. Yes, that’s “Bela Lugosi’s Dead” artists Bauhaus in a brief cameo.—Metrograph "Twenty years after Belle du Jour, Saint Laurent once again dressed Catherine Deneuve, for Tony Scott’s cult 1980s tale of elegant vampires. Her shoulder pads, lipstick and veils defined an era." —David Campany, Creative Director, International Center of Photography Adapted, like Truffaut’s The Bride Wore Black, from a crime novel by “William Irish” (a pseudonym of Cornell Woolrich), Mississippi Mermaid’s location-hopping tale of catastrophic amour fou begins on the Island of Réunion, where Jean-Paul Belmondo awaits the arrival of a mail order bride who might not be what she seems—though he doesn’t ask too many questions, since she’s Catherine Deneuve. A rueful and romantic journey in splendid widescreen from tropical heat to Mediterranean bliss to remote, snow-blown Alpine passes, featuring two of the most charismatic of French screen actors at peak power.—Metrograph "St. Laurent's and Deneuve's third collaboration in 1969 has the star dressed to kill in Francois Truffaut's Mississippi Mermaid. Taking place partly on the island of Reunion, the film was the perfect vessel to highlight the designer's vision for his 1968 Spring/Summer Rive Gauche collection, which drew heavily from safari and military dress aesthetics." —David Campany, Creative Director, International Center of Photography |
About Metrograph
Located two blocks from ICP, Metrograph is the ultimate destination for movie lovers. A special curated world of cinema inspired by the great New York movie theaters of the 1920s and the Commissaries of the Hollywood Studio backlots, Metrograph is a community inhabited by movie professionals screening their work, taking meetings, watching films, collaborating together—an audience built around our shared love of cinema.
Header image: Ensemble worn by Edia Vairelli, Haute Couture Spring/Summer 1982 collection, 5 Avenue Marceau, Paris, January 1982. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent; Tailored suit worn by Anna Karin, Haute Couture Autumn/Winter 1991 collection, 5 Avenue Marceau, Paris, July 1991. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent
