Marie Anne Guerin

Comments

Je, tu, il, elle

One of the first films I've heard of I did not know when I arrived in Paris, at the beginning of the 1980s attending Serge Daney's classes at University. He had written this title: Je, tu, il, elle as well as Le Camion (Duras) and Le Théâtre des matières (Jean-Claude Biette).

These film titles have opened my eyes.

Le CAMION

The harsh, animal, deeply moving meeting in between literature and film, a writer haunted with her characters and a sensitive great actor is exciting and beautiful.

Numéro zéro

One of the best and nist radical documentaries, extremely gripping and it has its proper music and rhythm.

I had the lucky opportunity to see it very soon after I arrived in Paris. Boris Eustache, Jean's son, organised a few screenings for some friends.

Numéro deux

I also discovered this film in the 1980s, as France/tour/détour/deux/enfants, which made me madly love Godard.

Marnie

Marnie is the film I want to to write a book about. I love Hitchcock's films from all periods so it has been a difficult choice.

Clash by Night

Here for exactly the same reasons as Marnie. Actually, I have written a text on Marnie and Clash By Night in an issue of Trafic devoted to Hitchcock/Lang.

The Night of the Hunter

First seeing this on the television, I have been amazed, stricken and caught in Laughton's world and the extreme beauty and ambition of the film.

Li per li

This mysterious and beautiful film is a part of the way I've made to the films, a certain kind of cinema which I discovered and which does belong to 'great cinema' even if it has been made with no money, marvellous friends and not been released.

MIDARE-GUMO

Naruse's last film in colour, the last of a very long list of extraordinary films by one of my three favourite Japanese filmmakers (Mizoguchi, Naruse and Shimizu).

Kiri No Oto

Shimizu, who I discovered last year at the Cinémathèque de Paris, is a wonderful and prolific cineaste. And this precise title is important, deep and moving, with a flawless sensitive cutting which made me think of Dreyer's Gertrud – a film that could, of course and another day have been part of this list!