This winter iteration of Cinema Club turns toward leisure — indulgent, composed, and fully self-aware. Long lunches in La Piscine. Cigarettes and silk robes in La Chamade. Hotel interludes in Avanti!. Lovers circling each other in Les Biches and Nous ne vieillirons pas ensemble. From Rodeo Drive to the Riviera, these films treat time as elastic, stretching pleasure and performance wherever possible.

In Pretty Woman, the hotel becomes a rehearsal room for self-invention — warm croissants on crisp linen, strawberries delivered like mail. Manon 70 frames idleness as aspiration, all glossy surfaces and strategic boredom. Innamorato Pazzo treats courtship as spectacle, complete with motorcades and Roman excess. Even Boccaccio ’70 turns desire into vignette — pleasure compartmentalised, stylised, and consumed. Across decades and cities, indulgence is rarely passive; it’s staged, negotiated, and perfected.

Though not formally included, Breakfast at Tiffany’s remains essential in this way of seeing: Holly at the window in a pale blue sleep mask and earplugs, coffee and a Danish in hand; later, the apartment party in full swing, her black Givenchy dress and opera-length cigarette holder held aloft like a baton. 

For simplicity's sake, the list in full:

• La Piscine (The Swimming Pool), 1969 — Directed by Jacques Deray
• La Chamade (Heartbeat), 1968 — Directed by Alain Cavalier
• Avanti!, 1972 — Directed by Billy Wilder
• Les Biches (The Does), 1968 — Directed by Claude Chabrol
• Nous ne vieillirons pas ensemble (We Won’t Grow Old Together), 1972 — Directed by Maurice Pialat
• Pretty Woman, 1990 — Directed by Garry Marshall
• Manon 70, 1968 — Directed by Jean Aurel
• Innamorato pazzo (Madly in Love), 1981 — Directed by Franco Castellano and Giuseppe Moccia
• Boccaccio ’70, 1962 — Directed by Vittorio De Sica, Federico Fellini, Mario Monicelli, and Luchino Visconti