Philippe Garrel will introduce this evening’s presentation of a new restoration of his 1979 film L’Enfant secret, starring the late Anne Wiazemsky (image above), and then take part in Q&As later tonight and again tomorrow (with his daughter Esther Garrel) following screenings of Lover for a Day. The former film is part of the New York Film Festival’s Revivals program, while the latter is, of course, the new one. We’ve got a second entry on Lover (after its premiere in Cannes) right here.
The New Yorker’s Richard Brody calls L’Enfant secret “a fierce, passionate, tender, painful romance, based in part on Garrel’s own relationship with the singer Nico; it’s also an ultra-low-budget independent film that aspires to—and often reaches—the imagistic grandeur of the silent cinema, and Wiazemsky’s blend of vulnerability and strength, reminiscent at times of Lillian Gish’s work in the nineteen-teens and twenties, is part of that achievement.” For more on L’Enfant secret, see Critics Round Up.
Starting Thursday, and on through October 26, the Metrograph presents Philippe Garrel: Part 1, and Garrel will be there, too, introducing Liberté, la nuit (1983) on Thursday and J’entends plus la guitare (1991) on Friday and taking part in Q&As both evenings. “Maurice Garrel was central to his son’s early life as a filmmaker, and Liberté, la nuit is as much his film as it is Philippe’s,” writes Jon Auman at Screen Slate. “The younger Garrel was only 36 when he made Liberté, and it is hard to imagine him arriving at such an honest and weary appraisal of life without having first read in his father’s face. That reciprocity—between actor and director, father and son—makes Liberté one of both Philippe and Maurice’s best films.”
In his overview of the retrospective for 4Columns, Nicholas Elliott writes that J’entends plus la guitare, “Garrel’s first film after Nico’s untimely death and the best entry point to his work, eschews any reference to the couple’s film collaborations to tell a modest but arresting love story, from a first encounter in Positano to a visit to Nico’s grave in Berlin. This rare film in color by a master of richly textured black and white perfects Garrel’s art of the ellipsis: there is an invigorating abruptness in the way years go by unannounced between two shots, then something marvelously gentle in the camera dwelling on the dawn of emotion on a man’s face.”
And the Metrograph has posted a piece that Elliott’s translated by Philippe Azoury: “In the immediate wake of May ’68, Garrel shot La Concentration and Le Révélateur. Watching them today is chilling. All the dead ends of the seventies are prophesied: self-destruction, apathy, alienation, the memory of the concentration camps, and insanity before the unflinching wall of repression. How could a twenty-year-old filmmaker have been so lucid? . . . Les Baisers de secours [1989] opened a new, more romantic period. . . . Garrel’s cinema is as haunted as can be, yet it invites the viewer to experience an uncommon level of presence.”
VIDEO
Adrian Martin on L’Enfant secret
For news and items of interest throughout the day, every day, follow @CriterionDaily.
from The Criterion Current http://ift.tt/2xwz7bF
Nessun commento:
Posta un commento