The Shamrock of March 2011 finally in PDF!
is clearly a resurgence of the filmmaker, as his way of moving from one genre to another within the same film is brilliant, easy, obvious. Turn disaster movie, romantic comedy, Christmas tale, melodrama, film and superheroes investigating a social issue (the survey is also the least convincing, through lack of actual knowledge on the subject), Beyond interweaves many ideas and different emotions while remaining still legible.
Nevertheless, I have some reservations: *
the bear into the water after the tsunami is a mix between two things, one foul and one idiot: the little red dress in Schindler's List , Scooby and 127 hours of - laughable and coarse
* the end, where Matt and Cecile roll a shovel, is shipped to the speed of light and reveals the falsity of the company Eastwood then crossed these stories had managed to interest us and even we believe, by subtle variations on the theme of communication;
* representation of the afterlife is a new-age kitscherie so she agreed to it only manages to make ridiculous research Cecile de France;
* Finally, two brief scenes of racism thundering good foundation, We suggest that the old director left to take a nap, confident in achieving Hortefeux - scenes shamelessly legitimized by the presence (suitable for the blind identification) of the kid who just lost his brother and sister whose mother is on drugs :
- the first at the funeral of the boy's brother, shows a funeral too quickly shipped, because at the door waiting for some Pakistanis (Eastwood inquired about the kind of aliens found in Britain, is already something): it could be funny, it is only the reflection of a sly old bastard (one is too many, go home). Of course, the religious commercialism which is described here, but in a roundabout way, perversely, the alien becomes the cause, or at least the unlucky participant (all under the guise of a social realism )
- the second to the school where the primary teacher asks the boy to remove his cap (which is what was his twin brother before dying), so that the table is a girl with a veil: here, too, could have been a comic scene, but no, it insinuates itself badly in the film as a reactionary in a conversation about the PMU. So when
The triumph of the will at The Jew Süss when ? For now, it Beyond , but the worst is yet to come.
(In the San Francisco, there is a political issue that is dealt with at once clearer and more open. The layoffs are expected in the case of the worker Matt Damon, and an agreement between unions and employers 'Proposed voluntary departures not badly paid. Matt Damon, first, is surprised to have been named among the volunteers (he, we are told, seniority in the box and some attendance at work who thought he would save), then said he "understands" that the box was privileged families (he is single and childless), and that it seems normal. Thereupon, the film could not be more explicit, opting for the thesis "Women and children first" slow sinking of the capitalist, but it leaves open reflection.)
Otherwise Beyond is I think one of the first movies really capture the modern means of communication (mobile phone, Google) to make a deep and elaborate fictional material. It's a film about the contact, all forms of contact - with the immaterial, with the taste, touch ... and it is this thinking that I was passionate.
Where Danny Boyle appears as a manic-depressive who would not know of depressive phases.
With a history that only Robert Bresson and Chantal Akerman extremist or a real filmmaker could handle (a man stuck at the bottom of a canyon, his arm stuck, for 127 hours), Danny Boyle still manages to make a clip (c is in his extremism him), a long half past one advertisement that would sell in the end nothing other than itself.
It amuses me that free, and allows the film to join a film category rather happy: the nanar. Danny Boyle has a thousand ideas a second, and none is good. Accelerated, slowed, shots inside a straw (!), split-screens, dream sequences, sequences fantasized, flashbacks, hallucinations, jerks: any rate, time never passes through any of the plans, and it is entitled only to the excitation of a filmmaker who missed struggles to not get bored. The bidding is such that the film is hilarious.
The story borders on idiocy. One would think that a dying man has some deep thoughts. In Danny Boyle, no. In Danny Boyle, when we will die, you think of Scooby Doo. Only evidence of the maturity that the approach of death gives humans: the hero gives up wank before the picture of a nice pair of tits. That said, there is no evidence that the reason for this inability is any maturity. It may be simply because the hand he still is not free hand with which he usually masturbates (and what good habits change when you know you will die? ).
James Franco is the anti-Isabelle Huppert, so that it becomes confusing. He does not play at all the pain. Just a rock to crush his hand and breaking his arm, and at no time does it badly. When one imagines what would have been Huppert such a role, we are already anxious. This apparent nonchalance of the main actor gives the film an incredible distance.
The best scene is pretty much: James Franco drinks the last drops of his gourd, Danny Boyle hid his camera in the bottom of the flask, and the language of Franco films passing through the orifice. The movie looks like this: oral sex in a sock, a muscular effort without result, or the courtship of a pigeon trapped alone in an attic. I want to be Danny Boyle
three or four days a year. All satisfy me. I would ask myself does not matter. No other movie, no book, no thought seems to me overwhelming. I could do anything and I'll do anything. That would be happiness, it would be cocaine, and I have created the impression of my time while feeling particularly suited me.
a Pepper Candy
2 disorder at age 20
3 Pablo Casals
4 Gold Duke of
5 City lunch
6 Paris by night
7 8 Disorder
you interested in this?
9 The city can
10 Goha
11 Eves future
12 Spider satin
13 Knight Ménilmontant
14 Operation seduction
15 Jacques Dufilho, the actor and his characters
16 The Doll
17 René Clair (filmmakers of our time)
18 Trap
19 Eden miseria
20 Girls sun
21 The cradle of humanity
22 Occupation dancer
23 African Childhood
24 Nothing Here the order
Group formed in 2000 in Atlanta, the Black Lips to define themselves and not without some modesty as unique re sentatives a genre of their own creation: Flower Punk. Understand that the Black Lips produce music combining a song strangely violent and heavily marked or garage punk tunes and accompaniments often more influenced by rock and psychedelic pop of the '60s and flower power. So difficult, I tell you, to believe that such a group has have happened so late, especially taking into account the quality of the recording seems (deliberately one imagines) just worthy of a lambda group of the sixties. Still retaining the sound quality and intentionally infects ancient in the way it sounded, the Black Lips we offer several types of songs all taking the faithful reinterpretation of the classics of the genre from 1960 to the early seventies. A very instrumental Beatles / Byrd s / Kinks / Animals like I'll Be With You or Dirty Hands (which are indeed quite scandalously based on the same three agreements) accompanies a singer with the voice of London hoodlum who is reminiscent of Mick Jaegger the London Years. Other titles like Hippie Hippie Hoorah will refer to a period a little later by using sounds that we think will do more in Woodstock at the Cavern Club). Others borrow from Keith Richards (on everybody's doin it or take me home back to boone ) Jimmy Page and others (listen Body Combat ) of guitars, a voice is still very similar narrative and disturbed to that of Jim Morrison on Trapped In A Basement example (in months can be depressing). The group has written three albums, mixing all my three punk, garage and psychedelic without being able to really say which is more rock, more punk or more psyche than others. The only notable difference is probably the recording quality is improving slightly over the album, Let It Bloom (with it already can not make more revival, with reference to the legendary Let It Be and Let It Bleed Torque enemy Beatles / Stones) to 200 Million Thousands may be more deeply rooted in the years gone by when the recording quality is improving so quickly. Maybe they have also realized that this desire, understandable and interesting background, sounding vintage sometimes pushed their music on some songs to the limit of frankly disgusting.
One thing Im Exposure: contrary to what they say, the Black Lips have invented anything in music. If they are indeed content to resume what had been done better at one times the most lavish for music and rock, if not the most luxurious, they must recognize the merit of having actually done well. There is nothing revolutionary, but it is tasteful aggressive and powerful, disturbing (maybe even disturbed) and must admit that this choice of gives the whole archaic records a certain charm and a certain nostalgia for then they try and succeed to imitate. We could find such a company somewhat vain, even annoying, even without wishing at all costs "progress for progress" to make the current make today. Personally, I do not mind if, as in the case of Black Lips, it's well made with excellent qualifications and very little waste (especially on first and third albums which are the only ones I listened , the second being inadvertently passed to the door), just as authentic as if they had forty or fifty years older. In addition, I must add that I'd much rather see and listen to such a group of representatives of groups swarming anarchic electro-pop-rock often seemed able in every way to each other painfully trying to keep afloat in the various stock Grebe and independent rock since the early 2000s. Note that this group in live performances he seems to say the least rough and rich a fourth album released this year. So do not expect a revolution or a disc is absolutely essential, but at least an album well done, definitely rock and authentic.
RODEO MASSACRE: If You Can not Smoke'em Sell'em
Hailing from Sweden, for their part, the Rodeo Massacre also involved in this will rekindle old fires , to pay homage the larger half of this century. This time with a woman at the warm and powerful voice (which incidentally will not come to break the traditional view that we on this side of the Baltic our Swedish friends and the wider Scandinavian), rhythms supported, the guitars sometimes furious, sometimes haunting and effective and powerful choruses, the reference to Jefferson Airplane blindingly obvious. And again, the result is rather pleasant. If the influence is to JA is indeed obvious, we can not honestly say that the music of this group on behalf of the taste unfortunately not as sure his music is limited to a pale imitation, a vulgar plagiarism of the latter. There are many contributions, and other reconstructions reconstructions from the Swedes. It could for example enjoy the unusual presence in the register of solos of flute, harmonica (hear example Zombies of Life ) or trumpet ( Desert Man ) that enrich the atmosphere of a form of euphoria, may be madness, sometimes as dementia at the end of the song Desert Man and the rhythm of the galloping drums and guitars, us through the great plains west of the New World. It will also show structures come directly from the original Blues ( I've Got A Big Foot Now ) On their debut album If You Can not Smoke'em Sell'em , released in early February 2011, it has the right to a recital of psychedelic rock and pop dasn rules of art, sometimes even approaching intros significantly from those of the Doors (including Turning Wheel ). Sweeping influences undertaken by Rodeo Massacre is still wide but coherent without lapsing into accumulation, with an album that, given the atmosphere where it takes us, form the soundtrack to a Tarantino (especially the song Desert Man ). One is forced to recognize the quality of this album and the group that has given rise, whether you are a reactionary nostalgia for the seventies or a youngster just ignorant and naive (or between).
This is another example of classic revisited with gusto, ostensibly revival group without being vain, that does not give rise to criticism from alumni and purists, or indifference or disdain of the most progressive.
So in a gamble that had launched the Black Lips and Rodeo Massacre, as others have done and will do after them, by choosing this way of revisiting classics . If the company can often seem devoid of great interest, that concern was quickly dissipated in the case of these two groups in this new century with a sound personality, technical quality and creativity that can seduce.
Mr. Lucas
The formula of the film is a nice idea - it would be more if the film was released in 1927, the advent of talking pictures: an almost-king stutterer prepares to deliver a speech that legitimize status or not.
For a first talkie, it would have been something wonderful, because speech is really the only show of the film, his only event. The suspense lies in this: the king he will deliver his whole speech, or stumble there a word condemning the theater back to its origins? It is the legitimacy of the word that comes to the movies here.
The emotion that comes is quite invigorating, and maintains our empathy for a character overcoming her fears, coming to the end of a deep wound, but that it is too heavily identified (it is understood the father's shadow hovering on stuttering son, but there is no original traumatic scene, and that the film remains fairly modest and well seen).
course, actors grimace looking for a price (we come to regret that this film is not just aired on the radio), the music supports them in their ongoing efforts, and speech therapy are compiled clip way, avoiding the filmmaker to sign an essay on language too radical and training.
However, this figure of King stutterer finds its glory in proclaiming the coming of war in Britain is very ironic critique: what's funnier than a character lifting a mountain to participate in History while it will anyway, even without him? What's more ambiguous than this happy ending final apotheosis this personal threshold of a series of defeats and massacres? Conversely
the Black Swan , based on the same show must go on film spectacular, the principle is not dubbed or redoubled, but rather perverted. The artificiality of this kind of film that serves the purpose involves the denunciation of the artificiality of a figure.
Moreover, the emotion that overwhelms us is not overwhelming, and the link between the main character its father figure is absolutely respectable: a friendship can change a life, tells us this nice movie. Among all the machines to cry out early this year, it seems to me the most amiable.
China, as it appears through the film resembles a heap of garbage placed in the middle of the world where we manage a few flashes of poetic and political groaning under the despair and rage. The more we see of Chinese films, the less one wants to visit China. Winter vacation and no exception to this anti-tropism. 
Formed around Chad Elliott, the California group first sign at Fearless Records, a subsidiary of Warner. But strife broke out when the label is trying to direct their music to the pop / punk, more likely and more profitable. Took them very badly, since it is Sony finally takes all by signing the band for a debut album in 2011: " The Golden Age of Knowhere . Clichés to Blink 182, Funeral Party delivers a snarling rock album and unadorned. Their rage is felt both in the frantic guitars in the raging voice of Chad, who does not hesitate to spew his guts to detonate the pieces, how to At The Drive-In (Ironically, they had just signed to Fearless Records). 
Rapture . But their potential may well be obvious and evident on songs like "Final ", the album is still not without some flaws. The Main is a feeling of repetition, particularly noticeable on "Giant Song" and "In Silhouette City." Indeed, past the third track, little pieces in the middle of the beginning of the album (3 potential tubes). It is also unfortunate that the final title (and namesake) lack of panache, to ensure an exit worthy of the name to Funeral Party. 
The deceit has lasted long enough, reveal it: Wajdi Mouawad, Marc Levy. If so please Wajdi Mouawad today in chic circles (and not Marc Levy) is that marclévytude Wajdi Mouawad dons the mask of his Lebanese origins - unassailable legitimacy, it can then bring on the worst follies war and affiliation, no one seeks her lice. Moreover, the war-torn country is not named because it is the war (Canada, he is appointed, because Canada is nothing). Pretext for shaved heads, mothers and children shot, prison rape, all that excites at dinners and other stories of orphans worthy club Dorothy (there were I think the club Dorothée, a series that looked like this story, I think it was called Twins the end of the world - is that Lebanon was captured at the club Dorothée?).
Unveiling without further delay the film's end: the twins discover that their brother and their father, they do not know and their mother to death has asked them to return, are one and the same person. And it everything. That's all, but in case you did not understand it, we repeated five times in five different ways. The emotion aroused opens on nothing other than itself, the story has only referred to surprise, shock, make them cry. Then we can go home.
A good film, it is suspenseful or not, should not suffer because it says in the end (Norman Bates and his mother are one and the same, you know, and yet we see returns psychosis) - it is that is Fire not a good movie. And Denis Villeneuve is a bad filmmaker. Nothing to save these Fire . The staging copy of the worst French films of the 90s. The actors are an awful seriously. And not a plan to save the other, everything is ugly. Radiohead to the rescue serves as fire truck, thickening the hollow images that connects the film unnecessarily.
There has not, to my knowledge of French film also specifically addressing the current policy. Helene Angel has assimilated all the codes of the right ruling into a fiction in this case, a horror movie (what else?). Its strength lies in the gradual modification of the object of fear: first, the ghost of a brother killed, then a non-paper, and finally, right, thinking right, the rightists, the right behavior. The right becomes the ultimate terror of the main character, who has more then one solution to end (because no question of playing the victim) to use the shotgun. 
It begins with a shot / reverse: from the front, a motor boat on a vast expanse of water, mountains in the distance (assumption: the Mediterranean); back, the same boat, entering a channel over which rises an arched bridge of iron green (Assumption: the Canal Saint-Martin). So we think: cinema (and editing) allow () shortcut: continuity of action but not of place. Not at all: this place on both sides are so dissimilar, understandably a bit later, it Annecy lake and the city, mountains and the bourgeoisie. So we think the cinema, but checking inconsistencies of the real (and editing, therefore, produced the first suspicion of manufacturing a device, prior to contradict this suspicion). Rather than eschewing that film's own power, Rohmer's cinema is witness to the power of a place. The human binding, film cutting, and in so doing, demonstrates the extraordinary diversity of views from the same point of view. The film tackles many. And wondered where to look (and not: what to see?).
See, it is discussed in Claire's Knee . The Friend of Jean-Claude Brialy said about a tapestry that has her "heroes of history were always blindfolded. The viewer sees in them what they do, what they might do this next to what they spend. In sum, Rohmer is a Brechtian give focus to the bourgeois, taking the big question that runs through the film of the 70s: fantastic or not to sleep? The heroes of the films of Rohmer multiply the possible choices until one is needed for itself. This knee perched on a ladder crystallizes the attention of an already very busy man, however, by his future wife on the one hand, and the other by a flirtation. The knee of the girl is an unexpected, a sudden appearance: of course, that knee is attached to the leg for many years, but it was enough that the man the way for him to take a different look, a different importance the point of changing the life of this man and his decisions should not be adopted.
"When I'm bored, so I'm next anyone, I feel like it, "said the young girl of 16 years Brialy tries to seduce. Rohmer is fascinated by the architecture (modern, among others), fascinated by what is a place and the way that this place has to influence the trajectories human condition the meetings. This is the case in The Baker of Monceau , whose history could take place elsewhere than Monceau or it would take place otherwise. Because the town has subtly suggested the meetings. If men will move a certain way, their feelings as follow but invisible lines drawn in advance. For it is never next to anyone: it is next to the man or woman that the city has kindly put there - so do we like that or that the city imposes on us.
Rohmer's passion for architecture is not confined to places, but also to people, feelings, flirting, at such times. Everything is built, traffic coexistence. The narrative of the jerky Claire's Knee is a marvel: the period of a month when a man comes back to Annecy for the holidays, Rohmer will count each day. And we will run a day to day conversations, abandoned at such an hour, repeatedly the next day as if in the meantime everyone was gone for the following words. Words, dialogue, thoughts, are the son that bind them on days when they could dilute the boredom of summer dormant.
Rohmer thus explores the spaces, and is particularly interested in spaces left vacant, for what they are opening possible. In Suzanne's career, there is an evening at Bourg-la-Reine in a big mansion inhabited by a student whose mother is a trip. And while all the action and all the characters accumulate in the same room to simulate a seance, Rohmer filmed the empty rooms, deserted by the need of the moment. Somewhere something meets and rushes - the other is waiting, but his time watching. The presence of this uninhabited area concerned.
That afternoon left vacant as the hero of Love afternoon - architecture of a timetable. The days of this man are well adjusted, industrious, family, unsuspected. But his afternoons Flâneuse lead him to a meeting that could jeopardize his family life. One afternoon, he must choose - and have weep overview in this free time that his life might have been. To have seen the immensity of non-being. Great sobs enigmatic, drafts, confused, and conclude the film reveals the devastating power vacuum now flirting, and flirting become too serious. Rohmer takes very seriously the void.
Watch a film by Pierre Creton is change of perspective. We're used to for-all large and medium-sized machines, we forget the for-itself handicraft both solo and cooperative but very isolated surrounded by some rare works. The trilogy Caux falls into the latter category. Pierre Creton, after studying art, instead of following his friends in Paris, decided to return to the campaign of his childhood and work. Between him and what is called the world, he paints a wall. Each film is need to separate, remove the confusion. Pierre Creton is a French filmmaker, he is a farm worker Pays de Caux, which also makes films (a "CineMaster," as he said one of his colleagues or bosses when the query). It is not, as Depardon, a local man who returns to see what has changed, it is not in memory or nostalgia, there is no intermediary between a specific place and the world, it is this place, infiltrated, and makes movies for a little longer in this world, yet a little longer there, alive. And that, in these trades he defends, in these meetings he did and in such films as and he invents as he lives, that will play its desire and need. One could believe in a fantasy of authenticity, but rather sees a lifeline Pasolinian sincere and that could be otherwise. That, that's all. 
Attached to a place, and returning to live and work, his occupation will be, firstly, to describe it. These three films are nothing more than descriptions, sketches rigorous, almost plans. Hired as a weigher in S ector 545 he filmed a map showing its scope: 25 farms and different patterns, 25 faces and landscapes, the illusion of a whole, the birth of a passion for this art. It can link to it, criss. Hand pass on this map, showing roads and borders. This plan does nothing to guide: it is a manifesto. There, precisely. Being there, better than a ghost haunting through work and film, the desire and the conversation, by producing a memory and a link between all these beings. Sinu, move, creep.
In Sector 545, it is the farmers. In Landscape i o impose , it is their children, learning their craft to agricultural college. In Maniquerville , what are their parents in retirement homes, where Lebrun just give readings of Proust. Three films, three sketches of the same landscape in three distinct points of view, rigorous in how meaning circulates (no desire to say more or larger), and disorders because they do not conceal their sensuality, the latter unfolds on a sentence, a face, a flower, or a cow - it is the event which made the film, not the reverse. The question posed by Pierre Creton farmers Sector 545 is: What differentiates you for the man from animal? The answers vary. Until a plan of dawn when Pierre Creton grabs a cow and hugs - Compensation poetic rationality put to work, or dazzling philosophical embrace this abolishes the question of difference. In Landscape imposed, the question is: what is a landscape? The students respond, and CineMaster filmed their faces. Obviously, we understand the landscape, it's them. The title is misleading: one of the interviewees replied to the question by Pierre Creton: "In my landscape, it is Jean-Paul (Sartre) and Simone (de Beauvoir). The landscape becomes imposed chosen landscape, landscape of election, or landscape thing.
But it's not only about the study that changes is also his way. The manner shifts gradually. What the filmmaker introduced in the documentary always varies: autobiography Sector 545 (which is like a Discourse on Method), history in Landscape imposed (the filmmaker recalls the account in Peter's River, which took place not near the agricultural school), fiction Maniquerville (some scenes are written Lebrun). For Pierre Creton continues to alter, to find echoes of foolish attempt reconciliations. His employer, he will, with a sculptor friend, a bust. The films of Pierre Creton are like the plan of him hugging a cow: a desire or intuition, a necessity, burst the rationality of form, the banality of the images. This is not common (no regionalist), but rather the singular, which is important and overrides.
What is remembered of this trilogy, we are not spectators in the Pays de Caux? First images: a man holding a cat in her arms, the reflection of a sculpture in a window through which we see trees, a snow-covered road, smiles, serious faces. And also those who are old, at the same time as their physical capabilities diminish, the landscape where they believed killed their escape: they destroyed the castle, the park is a recreational area, we will move them. They just listen Lebrun read Proust, and the words resonate, or not for them, for us, whatever, the words are there.
We regret that only Capricci has chosen not to edit all the films of Pierre Creton. Time shepherd , seen at the Pompidou last year, was a wonderful short film. Hopefully there will be other opportunities to see it, follow this singular work, saying with so much power its singularity.
also found that chronic Kinok .
Gold Duke of (1965) is a fictional film that seems to be a self-portrait as it shows similar to what we can imagine how Baratier makes his films.
The story is as follows: a penniless Duke (Claude Rich), father of ten children, receives from his wealthy uncle, a double-decker bus of India, which can accommodate and entertain his family while waiting to retrieve the castle . But to get the castle, it takes money: and the Duke does not and can not work. What he does not know is that the bus is gold. Besides, the servant of his uncle (Jacques Dufilho, huge) is in pursuit.
is a miraculous little comedy, which made the offhand charm. We think a Wes Anderson (and The Royal Tenenbaums in particular) more chaotic in form, but also held in his remarks.
Baratier part is that these filmmakers aristocrats, who want to prevail in any work on fun. We do not see the seams, but the pieces hold together. Because, without doubt, in the casualness, there is a filmmaker with a fixed idea.
Some scenes: the encounter with a married woman, magic, Daniel Emilfork without speaking with his teeth and his teeth, and the bailiff's visit when everyone is trying to conceal an ancient tapestry.
Nowhere in Africa (1977) and The cradle of humanity (1973), are documentaries made for television by Jacques and his wife, Nena Baratier, which has been the assistant of Jean Rouch. We saw little children in Rouch's films. Has also interested in them. These are interesting documentary, but marked by the spirit of the time (the remarks on education, in particular).
Satin Spider (1984) is a fantasy Sapphic with Ingrid Caven, Catherine Jourdan. Ingrid Caven is director of a girls' boarding school, Professor Catherine Jourdan dance at the school, and kleptomaniac. A young girl disappears. An inspector comes up, fine, with silk gloves that excite the dance teacher.
Eroticism, seeping into all of the 60 films of Jacques Baratier, here is more writing, more bourgeois (Catherine Breillat is the scenario). Despite the sometimes painful flange, the grand scene of the film (a pagan holiday on the island) is a wonderfully decadent and delusional.
February 21
Disorder (1948) and disorder at age 20 (1967)
To continue this story of obsession in Jacques Baratier, it must be said that there was one constant , who worked all his life: the disorder (that is, ten or fifteen years of glorious post-war Saint-Germain des Pres, before the kids' arrival in the sixteenth in Tabou dirty feet will look for local wildlife). There, the film, a number of versions implausible. I saw tonight in the first two. But until his death Baratier has thought of nothing else, pressing her daughter Diane to add a particular sequence, to remove this or that ...
For anyone who lives in Paris, these films seem to me essential. Essential to understand clearly what is had, and that there was more. To understand that what we complain today, it was already complaining in 67: the recovery of a bourgeois creative collective madness, the transformation of a blundering necessity in draft on-coded.
Nena Baratier, Jacques' wife, worked for Jean Rouch. Also, Jacques, who discovered the film in contact with a film crew while in Africa he had gone to paint and become a painter, is quick to apply anthropology to the district he knows well and which attracts and excites Saint-Germain.
Everyone is there: lettrists, existentialists, Greco, Vian Audiberti, memories of Artaud, Gabriel Pomerand, jazz, rock, theater, Roger Blin, Jean-Pierre Kalfon, Bulle Ogier Pierre Clementi - everyone, everyone who counted, all who do not yet know but Baratier see.
In Disorder shot in 1947/1948, showing St. Germain destroyed, deserted, poor, Baratier adds disorder at age 20 , taking pictures of Disorder mixed with other tours in 1967 in the same neighborhood when the situation is already beginning to deteriorate, when the Drugstore generates money and Boris Vian died in seeing the film they shot of his book. Paris, which was an oasis, became a wound, oozing the petty bourgeoisie and the good bad manners. The transformation is already happening there, in 1967. Bulle Ogier scream and see unbelievable things on stage, or singing Greco wander among the ruins (which will, 20 years later, a supermarket, where Baratier ask him to sing the same song) is something astonishing: those people in this near-primitive people, we must. And most of these people are dead. Since, in Paris, but nothing has been invented. Nothing new. It was only reproduced in more bland, more bourgeois, more timid, more chic, these forms were born there.
February 26
you interested in this? (1974)
is a commissioned film shot at a time when Baratier needed money to finish his film, The City -tin, which was censored because he attacked too close developers. Are you interested in this? is an erotic comedy that stands by his way of redistributing the cards sexuality. Everyone is entitled to his hour of wolves, whether the handsome young man, the beautiful young daughter, aunt ultra-released, the au pair, a father stuck, or even grandmother. Dialogues gays are very, very inventive, the scenery beautiful (a beautiful property in the South of France around which grow the skyscrapers as the grandmother of the sexes compared to concrete), the actors excellent, the characters fascinating intelligence and malice, and there's a hilarious scene where some characters are in a movie theater for a screening of Last Tango in Paris , and images that pass the screen are not those of Bertolucci, but a version parodied by Baratier. Most importantly, this film makes, in its aspect minor, Baratier address the heart of what I believe to be his subject - namely the ass. That is to say that sexuality circulates between people and unites them.
Jacques Dufilho, the actor and his characters (1963), is a portrait of Jacques Dufilho interspersed with excerpts from his sketches.
René Clair (1969) Collection, filmmakers of our time , is a portrait of René Clair, who, as so often in movies of this collection is gradually being a self-portrait of a filmmaker who shoots another. You learn a lot about the relationship of film to the song, and you understand why Baratier held his entire life to making comedies.
February 28
End of hindsight.
Three short films by Jacques Baratier
