Jean-Jacques Rousseau – L’Histoire du Cinema 16 (1982)

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Synopsis :
Jean-Jacques Rousseau has just finished his last film, shot in unworthy conditions. He is preparing to show it to the movie critics of a local newspaper. The filmmaker launches the first images but these reveal all the problems that a non-professional filmmaker may encounter. Continue reading Jean-Jacques Rousseau – L’Histoire du Cinema 16 (1982)

Mia Hansen-Løve – Eden (2014) (HD)

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Mia Hansen-Løve’s Eden, co-written with her brother Sven Hansen-Løve, is based on 20 years of his life as a DJ of electronic music, during the heyday of French Touch. While it is as personal as her previous film Un amour de jeunesse, the rhythm of Eden is structured by the music. Authenticity remains key, which does not necessarily mean naturalism. Hansen-Løve’s momentary excursions into animation, split screen, and possibly re-writing of world history are the most effective parts. EyeForFilm Continue reading Mia Hansen-Løve – Eden (2014) (HD)

Marin Karmitz – Nuit noire, Calcutta (1964)

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Nuit Noire, Calcutta is the story of a writer, Jean (Maurice Garrel), who has come to the coast to complete a novel about the french vice consul in Calcutta. He does not find his task an easy one, and he struggles throughout to find adequate words for his story. Convinced, as he puts it, that the words do exist somewhere, he is shown repeatedly working on his manuscript, deleting sentences, or tearing pages in frustration. In the process he empties several bottles of whisky (hence the connection with the theme of alcoholism). As he writes, there is a story unfolding in the outside world that seems to parallel the one he is inventing, although it is not clear which of these is mirroring the other. The two series of events refuse to converge; but this enables the film to explore the ironical,metaphorical relationship between the imagenery, speculative world of Callcutta and the dunes and mudflats of the Seine estuary at Ouistreham. Continue reading Marin Karmitz – Nuit noire, Calcutta (1964)

Christophe Honoré – Métamorphoses (2014)

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Quote:
One of France’s most unpredictable writer-directors, Christophe Honoré (Dans Paris, Love Songs) offers an audacious, erotically upfront re-reading of Ovid’s Metamorphoses, enacted by a fearless cast of (largely unknown) young actors in contemporary French settings. Kicking off with a startling take on the story of Diana and Actaeon, Honoré’s film follows the wanderings of Europa (Akili), a high-school student who encounters a marauding truck driver – none other than Jupiter (Hirel), father of the gods. Streams of stories within stories bring the old transformation myths a modern-day slant – Narcissus as an arrogant teenage heart-throb, Orpheus as a charismatic housing-estate preacher – and add a multi-racial, polysexual perspective, teasing out the perversity, violence and rapture of classical legend. You may detect shades of Borowczyk, Pasolini, Rohmer and Derek Jarman’s Sebastiane, but this savage, rhapsodic, moving film is something entirely its own. A fabulous soundtrack completes the wayward beauty –BFI Continue reading Christophe Honoré – Métamorphoses (2014)

Patrice Enard – Pourvoir (1981)

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He was part of the french underground from the late 60’s to begging 80’s. He was related to directors such as Philipe Bordier, Jean-Pierre Bouyxou, Marcel Hanoun, etc. His early stuff is quite political (maoïst), and then his cinema tends towards psychoanalysis.

Quote:
Patrice Enard’s ‘Pourvoir’ is a film mainly comprised of images of women in nature, his style is stark and repetitive, shots are angular, which both hide and reveal. There is though a visual poetry to his work – once the smoke dissipates, a sexual liberation emerges, with subtle flourishes in the staging and editing threaded together by Marxist and Freudian discourses.

Enard was as much an academic and critic as he was a filmmaker, his work is at times highly theoretical, emerging out of his interests in psychoanalysis. Pourvoir is his longest work. Continue reading Patrice Enard – Pourvoir (1981)