Filmmaker Joan Tewkesbury, editor-producer Paul Barnes, and curator-scholar Mara Fortes lead us once more into the world of another vital classic—Jacques Tati’s hilarious spectacle, Mon Oncle. Tati’s 1958 satirical and often slapstick interpretation of modern living easily resonates with today’s world; presenting a whimsical, charming critique on the ridiculous nature of consumerism and mechanized living. We follow Tati’s reoccurring hero, Monsieur Hulot, as he comically navigates the geometric, oppressively ultramodern home and garden of his brother-in-law. Mon Oncle earned Tati the Academy Award for Best Foreign Language Film. Registrants will receive a free streaming link for the film to be viewed prior to the talk.

About MON ONCLE: Genial, bumbling Monsieur Hulot (Jacques Tati) loves his top-floor apartment in a grimy corner of the city, and cannot fathom why his sister’s family has moved to the suburbs. Their house is an ultra-modern nightmare, which Hulot only visits for the sake of stealing away his rambunctious young nephew (Alain Becourt). Hulot’s sister (Adrienne Servantie), however, wants to win him over to her new way of life and conspires to set him up with a wife and job. (USA, 1958, 116m)


Joan Tewkesbury began her career at age ten as a dancer, played an Ostrich and Mary Martin’s flying understudy in Jerome Robins’ Peter Pan, choreographed and danced in nightclubs in San Francisco and Reno, Nevada, and directed and choreographed for theatre in the U.S., Scotland and London. She has amassed credits as a writer, director, producer, and choreographer in feature film, theatre and television, including screenplays for Robert Altman’s THIEVES LIKE US and NASHVILLE. Her directorial first feature OLD BOYFRIENDS was presented at the Cannes Film Festival, and celebrated its fortieth anniversary with a retrospective in major cities. Her many TV credits include writing and directing the award-winning Acorn People, The Tenth Month, Sudie and Simpson and Cold Sassy Tree. She has directed off-Broadway, co-choreographed and directed for the Oregon Ballet Theatre and her  play The Retrospective was presented at the Manhattan Theatre Source. Her first novel, Ebba and the Green Dresses of Olivia Gomez in a Time of Conflict and War, was published in 2011. She is an advisor for the Sundance Institute.

Paul Barnes works as editor include WASN’T THAT A TIME (1982, Best Documentary Editing Award from the American Cinema Editors), SAY AMEN, SOMEBODY (winner, Best Documentary, Boston Film Critics) and THE THIN BLUE LINE (1988 Best Documentary Award, New York Film Critics). Paul was editor of Ken Burns’s Oscar-nominated STATUE OF LIBERTY, beginning a 25-year collaboration that resulted in THE CIVIL WAR (1990, highest rated series in public TV history and winner of 40 awards); BASEBALL; EMPIRE OF THE AIR: THE MEN WHO MADE RADIO; THOMAS JEFFERSON; the ten-part JAZZ series; THE ROOSEVELTS: AN INTIMATE HISTORY and THE VIETNAM WAR.

Born in Mexico City,  Mara Fortes is a researcher and a curator. She holds a B.A. in Film and Media Studies from Swarthmore College and is currently a doctoral candidate in Cinema and Media Studies at The University of Chicago (Dissertation: Cinema Atmospherics and the Spatial Uncanny). She works as a curator for the Telluride Film Festival, programs for the Ambulante Documentary Film Festival (Mexico), and is former head curator at the audiovisual department “Cine más allá” of the Center for Digital Culture (Mexico). She has curated programs for Museo Reina Sofia (Spain) La Otra Bienal (Colombia), and London MexFest (UK).