Emeritus Professor at Sorbonne Nouvelle University (Paris)
|Last Year at Marienbad
|L' HOMME QUI MENT
|The Pillow Book
|Wong Kar Wai
|Un soir, un train
Last Year at Marienbad
The story of a man who thinks words are acts and that they can constrain reality. Don Juan perhaps.
The laboratory of narrative.
The schematic beauty of the colours, the detached performances of the actors in contrast to the lyricism of the music make Le Mépris an obsessive story.
L' HOMME QUI MENT
An opera-film in which image, dialogue and sounds are conceived as the different parts of an orchestra.
A key film in the history of cinema for the way it deals with the question of point of view.
The Pillow Book
In this film, where handwriting is constantly superimposed on the actions shown, the piling up of images is close to the accumulation of layers of parchment, where flatness is only a fugitive illusion.
How the apparent coldness of the photographic image and the documentary image, combined with the voice of a woman on an answering-machine, makes us feel the jealousy of a character absent from the image.
Too blurry or too close, objects and actions are riddled with mystery. A film where every shot is a work of art.
The open work pushed to its limit
Un soir, un train
The beauty of magical realism.
I think I could have said the same thing about each of these ten films. They are films that suggest more than they show. Films that express strong feelings but without pathos. Films based on contrasts or contradictions between the different constituent parts of cinema: images, sounds, writing, music.