Marie Anne Guerin
Writer, film critic
|Je, tu, il, elle
|Clash by Night
|The Night of the Hunter
|Li per li
|Kiri No Oto
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.
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.
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.
I also discovered this film in the 1980s, as France/tour/détour/deux/enfants, which made me madly love Godard.
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.
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!