Moullet is Courteline reviewed by Brecht
Jean Luc Godard
Tierra Madness
Luc Moullet
Wednesday, November 18 at 20:30
PREVIEW in the presence of Luc Moullet
Cannes 2009 / FID Marseille 2009
You know Truffaut, Godard, Chabrol, Rohmer Moullet ... No?
between black humor and absurdity systematism, Luc Moullet book a delightful docudrama about madness in the Southern Alps.
Moullet, the child's country director and then became a critic in Paris, landed on his home region a second look, according to jet set to work in his films. Deadpan narrator and laugh maladroit, il s’adresse à ses spectateurs face caméra, débutant son recensement morbide avec le triple meurtre commis par un de ses aïeuls, paysan en rogne après qu’on ait déplacé sa chèvre de quelques mètres sans l’avertir. S’ensuivent témoignages des autochtones, reconstitutions champêtres et techniques d’investigation redoutables : on plante des punaises sur une carte de la région et y tend un élastique, pour délimiter un « pentagone de la folie ».
between black humor and absurdity systematism, Luc Moullet book a delightful docudrama about madness in the Southern Alps.
Moullet, the child's country director and then became a critic in Paris, landed on his home region a second look, according to jet set to work in his films. Deadpan narrator and laugh maladroit, il s’adresse à ses spectateurs face caméra, débutant son recensement morbide avec le triple meurtre commis par un de ses aïeuls, paysan en rogne après qu’on ait déplacé sa chèvre de quelques mètres sans l’avertir. S’ensuivent témoignages des autochtones, reconstitutions champêtres et techniques d’investigation redoutables : on plante des punaises sur une carte de la région et y tend un élastique, pour délimiter un « pentagone de la folie ».
Fréquemment comparé par les journalistes à Jacques Tati (même penchant pour un humour décalé built on the systematization and the absurdities of everyday life), Luc Moullet opposes a strong argument: that the comic is based on the practice floor. Then browse to the image, still, a handful of cows harmless Moullet Assen a monotone worthy of a regional JT: "a place conducive to crime." True to his method, which leads the individual to the general ("I conclude that it is more likely to be murdered by a madman when working in a place exposed as La Poste), the director films the bloody evidence in pastoral setting, working again the figure of shift and putting in motion the same death as the most banal event that either.
Asked about his ambition to make people laugh with tragedy, we cite as examples the films of Chaplin and Lubitsch on Nazism or misery, before adding: "Talking about death, c ' is the ultimate for a comic filmmaker, because it's about the most dramatic ever. But it's also a way to stay alive. "That will be enough for the Earth is suspected of madness from being a pretext for exerting effective method, the Moullet.
Born in 1937 and cinephile from an early age, Luc Moullet between the Cahiers du cinema to eighteen years alongside Truffaut Rivette, Godard, Chabrol and Rohmer. He is the author of a policy actors and essays on Bunuel, Lang and King Vidor. He made his first film in 1960. From 1966 he became an actor at the same time a producer (of his own films but also Eustache or Duras). To date he signed thirty-eight films of all sizes, from short to long film, and all kinds. All are connected by a gold wire and Ariadne, stretched from end to end: the comic. It is presented as the only comic filmmaker of the New Wave, he simply put his view of humanity and society around him to reveal the faults. The film has many historians but few geographers. Luc Moullet is one.
Luc Moullet lends itself to game film analysis of one of his favorite movies, "The Fury of Desire," a masterwork, directed by King Vidor in 1953, which describes the desire broken by the ambition social.
The work of Luc Moullet film is a maverick independent, malicious and facetious, half-way (traverse or Scrub) between the DIY amateur (the musician and inventor of instruments Patrice Moullet who did the music for several of his films is his brother) and smuggling in acrobat professional (on the thin wire stretched between thin budgets and daring projects). The true diversity of this work in terms of shapes, sizes and genres, is made of alternating over forty years of short and feature films, documentaries and fiction iridescent film genre iconoclasts, testing more or less autobiographical and object lessons and unusual practices. Because it is at the bottom here to carry on all fronts a lively and sharp critique of contemporary society radiographed in its most intimate, tiny and insignificant aberrations. And all this takes place according to principles which are economically cinematographic system and D is the most imaginative and aesthetically scholarship cinephile's finest. Such an approach is thus increased by a singular artistic apparently not as the only equivalent in the field of comedy and piercing distanced observation that in the films of Luis Bunuel, Jacques Tati and Otar Iosselliani (all these artists share in also a sense of inherited frontal silent film that is capable of turning into a real comic literalness). Indeed, are convened in the same generous impulse Luke Moullet hyper-careful approach of the real decline in frontal series of descriptive and incongruities and zany slapstick resulting the literal own this record even mania. A film by Luc Moullet, so it all together so strangely and so rigorously disciplined funny (and vice versa), an economy that is not expensive for an anthropology combined with a punctilious pataphysical socially devastating (and Luc Moullet, as his Alfred Jarry master creator of Ubu is an avid bicyclist who is not afraid to say: "The bicycle is the culture, and the car is barbarism").
Over hill and dale: long and short many rare, all precious
Let's talk first chain of mountains that form the feature films (fewer than short) and see how they look despite diverse we are dealing with a single coherent constellation. On the documentary, Anatomy of a report (1975) book boldly analysis sex of the author himself and his companion (the storyteller Antonietta Pizzorno) at the time of the unleashing of film X, while Genesis of a Meal (1978) unfolds into the South chains of capitalist production and consumption of foods that end up in the stomach of the director. As for fiction, this "grotesque western" (says the critic Jacques Siclier) What An Adventure of Billy the Kid (1971) with Jean-Pierre Léaud parody the clichés of a kind considered by moviegoer pointed up or well or blow them up, when his side's Comedy Labour (1987) likes to overflow and eventually scuttle the alien ideology of the value of working together with its bureaucratic management that is the ANPE (to which filmmaker was repeatedly recorded during her periods of Need).
Valley of short films (made easier when the financing feature is experiencing some difficulty) in fact provides a forum for demonstrations of the incisors Luc Moullet. Indeed, these lessons materialistic things settle on a documentary and a priori, a fortiori, rather realistic, with subjects in everyday life the most analyzed with any methodological rigor already surprising, but more such machines the unstoppable force quickly reach critical to leak and spikes protrude almost surreal, electrifying and enlightening, resulting in an ingenious work of undermining the arbitrariness on the concrete of our social conventions. My first in breaststroke (1981), Luc Moullet self-analysis by dissecting his "Aquaphobia.
In Bars (1984), the director shall prepare an inventory of the finds fraudsters face broke the iron discipline of the porticoes of metro inventory that owes as much to Jacques Prevert to his own experience as a user of the RATP. In opening test (1988), director fight valiantly against the recalcitrant capsule bottles of soft drink known worldwide with a spirit of Cartesian system so that it quickly turns to the absurd. The whole art of Luc Moullet is then set to play the game of logic with a priceless sense of humor (humor but a tongue-in-cheek, a cold humor, the filmmaker shares with Buster Keaton and Aki Kaurismäki ) in order to disrupt the trap by taking his own reasoning mind. Ambition, in fact extreme here, is indeed to the weakening of the base of our social habits rationalist curled up on themselves as ossified and, in fact so reassuring to strength never to be questioned. We are dealing with an original form of anthropological analysis, half serious and half comic, fun and head-literally amused, human behavior, such as The Empire Rover (1986), applies to dogs' anthropomorphism of the delusional of their masters, and, in the seats of Alcazar (1989), sees the face of feelings agreement and disagreement between a cinematic tastes boy critic for Cahiers du Cinema and a girl after magazine Positif enemy during the 50s. It is a mapping of the rigidities of our social structures lined with a type (or rather what might be called a "archétypographie" So faced with archetypes bounded screwing our cultural practices), an equally rigorous and accurate strict mocking, which addresses both the biting AERROPORRRT OF ORRRRLY (1990) to noise pollution on the deafening air traffic in the explosive The Cabal of Sea Urchins (1991) to mining which produced dumps, or in the more combative Always (1994) to supermarkets that have replaced the movie theaters. or in the satirical Foix (1994) in this county Ariege considered the most "cheesy" of France.
Luc Moullet, filmmaker singular plural
But Luc Moullet, living critically opposed to all systems of thought fossilized, just does not make films like the brilliant Finds Geo- imagine all his wacky inventions. For this man singular and plural has several other hats: actor, including (in many of his films and also in Pascal Kane and Laurence Ferreira-Barbosa, for example), but also occasional producer (for The Pig by Jean Eustache and Nathalie Granger Marguerite Duras), course review (since the glory days of Cahiers du Cinema from 1956 when he for example has never ceased to defend the underrated film of Cecil de Mille), and then logically meticulous essayist (about cinema of Fritz Lang or personal gesture of four major Hollywood actors - Gary Cooper, Cary Grant, John Wayne and James Stewart - in his book Politics of actors). Like many other filmmakers of the Nouvelle Vague (Jean-Luc Godard, Francois Truffaut, Claude Chabrol, Jacques Rivette ...), Cahiers du Cinema serve as a stepping stone to reach completion, which will be done with three short films decisive (A steak overcooked in 1960, Black Earth in 1961 and Capito? in 1962 in three stages, three key themes of work moulletienne already proposed, namely hunger, mountainous geography, communication failed). Then follows, in 1966, the first feature film by Luc Moullet, Brigitte and Brigitte, producing tiny but economically capitalize on that of the inventive film, which can be recognized, along with heroines almost twins (played by Frances Vatel and Colette Descombes), Eric Rohmer, Claude Chabrol, Samuel Fuller, Andre Techine and the director in person will become discrete onset recurrent home. The following smuggler in 1967, hilarious picaresque planted on an unlikely Franco-Mexican (!) While elsewhere one can canoe from the Alps to reach Boulogne-sur-Mer (!).
If you do not bike or mountain ...
critic and friend Jean Showalter said wisely Luc Moullet that "it is funny in the sense that we say a funny guy or a funny argument. There is no home of beautiful images, nor ostentatious camera effects. At its simplest, as soon as possible, at right to see what there is to it. " What meets Luc Moullet himself, stating: "I'm through being burlesque helpless and I think there is real comedy on serious subjects." This adds further by quoting one of the greatest classic Hollywood directors, Ernst Lubitsch, "the best thing for players to learn to shoot is to shoot the mountains. As I am not sure to know how to film the actors, I continue to film the mountains. " The Human Rubin made by the friend Gérard Courant in 2001 is logically a portrait filmed in the Alpes de Haute Provence where exactly Luc Moullet was born in 1937 (he turns most of his films, there is the cool and draws force of his inspiration). And the latter telling them the crazy adventures What's been several shootings anticipates what is currently in his last film date (The Prestige pending death scheduled for early 2007), The Wayward D 17 (2002), a kind of summary virtuoso and generous the whole work, which starts as a true documentary (with a voiceover telling the incompletion of learning the construction of the Departmental No. 17) and then quickly turns into delirium with, among others as the film is disheveled, a team of Cinema blocked on the set of a western mountain as broke as an adventure of Billy the Kid, a paranoid group of military who believe that the armies of Saddam Hussein invaded France at the time of the first Gulf War 1991, a smart horse trader who helps out with his cows and some cars stuck in the quagmire he has dug himself to win some money, an irascible champion race car (hilarious Bouchitey Patrick), whose appalling sexism does not prevent it from being loved by his young novice co-pilot, and finally a shepherd faun (and therefore necessarily renoirien) very friendly all women in a state of idleness sentimental.
The gay persevering scholar
Despising human absurdities (Too Human), social contradictions and cultural Hermeticism, doctor in search of symptoms most fun comic of our civilization way saturation of accumulation and commodification, cheerful and relentless adventurer whose film is paradoxically synonymous with economic marginality of centrality in terms of artistic importance (emphasized by Jean-Luc Godard and Jean-Marie Straub, Jacques Rozier, and Jean-Francois Stevenin, Alain Guiraudie and Philippe Ramos) simultaneously and mountain bicyclist, humorist and anarchist, burlesque and clinician, primitive and modern, materialist and libertarian as well as economic terms of production as that of the prodigal imagination worked in fact the body by this impulse and elementary principle of all that is hunger (his great subject, and more universal as was noted by critic Serge Daney), Luc Moullet is this filmmaker who knows persevering against comica saw his practical reason for the comedy of Pure Reason supposed to legitimize the nonsense and vices of our Preserved in its complacent society.
Saad Chakala
The work of Luc Moullet film is a maverick independent, malicious and facetious, half-way (traverse or Scrub) between the DIY amateur (the musician and inventor of instruments Patrice Moullet who did the music for several of his films is his brother) and smuggling in acrobat professional (on the thin wire stretched between thin budgets and daring projects). The true diversity of this work in terms of shapes, sizes and genres, is made of alternating over forty years of short and feature films, documentaries and fiction iridescent film genre iconoclasts, testing more or less autobiographical and object lessons and unusual practices. Because it is at the bottom here to carry on all fronts a lively and sharp critique of contemporary society radiographed in its most intimate, tiny and insignificant aberrations. And all this takes place according to principles which are economically cinematographic system and D is the most imaginative and aesthetically scholarship cinephile's finest. Such an approach is thus increased by a singular artistic apparently not as the only equivalent in the field of comedy and piercing distanced observation that in the films of Luis Bunuel, Jacques Tati and Otar Iosselliani (all these artists share in also a sense of inherited frontal silent film that is capable of turning into a real comic literalness). Indeed, are convened in the same generous impulse Luke Moullet hyper-careful approach of the real decline in frontal series of descriptive and incongruities and zany slapstick resulting the literal own this record even mania. A film by Luc Moullet, so it all together so strangely and so rigorously disciplined funny (and vice versa), an economy that is not expensive for an anthropology combined with a punctilious pataphysical socially devastating (and Luc Moullet, as his Alfred Jarry master creator of Ubu is an avid bicyclist who is not afraid to say: "The bicycle is the culture, and the car is barbarism").
Over hill and dale: long and short many rare, all precious
Let's talk first chain of mountains that form the feature films (fewer than short) and see how they look despite diverse we are dealing with a single coherent constellation. On the documentary, Anatomy of a report (1975) book boldly analysis sex of the author himself and his companion (the storyteller Antonietta Pizzorno) at the time of the unleashing of film X, while Genesis of a Meal (1978) unfolds into the South chains of capitalist production and consumption of foods that end up in the stomach of the director. As for fiction, this "grotesque western" (says the critic Jacques Siclier) What An Adventure of Billy the Kid (1971) with Jean-Pierre Léaud parody the clichés of a kind considered by moviegoer pointed up or well or blow them up, when his side's Comedy Labour (1987) likes to overflow and eventually scuttle the alien ideology of the value of working together with its bureaucratic management that is the ANPE (to which filmmaker was repeatedly recorded during her periods of Need).
Valley of short films (made easier when the financing feature is experiencing some difficulty) in fact provides a forum for demonstrations of the incisors Luc Moullet. Indeed, these lessons materialistic things settle on a documentary and a priori, a fortiori, rather realistic, with subjects in everyday life the most analyzed with any methodological rigor already surprising, but more such machines the unstoppable force quickly reach critical to leak and spikes protrude almost surreal, electrifying and enlightening, resulting in an ingenious work of undermining the arbitrariness on the concrete of our social conventions. My first in breaststroke (1981), Luc Moullet self-analysis by dissecting his "Aquaphobia.
In Bars (1984), the director shall prepare an inventory of the finds fraudsters face broke the iron discipline of the porticoes of metro inventory that owes as much to Jacques Prevert to his own experience as a user of the RATP. In opening test (1988), director fight valiantly against the recalcitrant capsule bottles of soft drink known worldwide with a spirit of Cartesian system so that it quickly turns to the absurd. The whole art of Luc Moullet is then set to play the game of logic with a priceless sense of humor (humor but a tongue-in-cheek, a cold humor, the filmmaker shares with Buster Keaton and Aki Kaurismäki ) in order to disrupt the trap by taking his own reasoning mind. Ambition, in fact extreme here, is indeed to the weakening of the base of our social habits rationalist curled up on themselves as ossified and, in fact so reassuring to strength never to be questioned. We are dealing with an original form of anthropological analysis, half serious and half comic, fun and head-literally amused, human behavior, such as The Empire Rover (1986), applies to dogs' anthropomorphism of the delusional of their masters, and, in the seats of Alcazar (1989), sees the face of feelings agreement and disagreement between a cinematic tastes boy critic for Cahiers du Cinema and a girl after magazine Positif enemy during the 50s. It is a mapping of the rigidities of our social structures lined with a type (or rather what might be called a "archétypographie" So faced with archetypes bounded screwing our cultural practices), an equally rigorous and accurate strict mocking, which addresses both the biting AERROPORRRT OF ORRRRLY (1990) to noise pollution on the deafening air traffic in the explosive The Cabal of Sea Urchins (1991) to mining which produced dumps, or in the more combative Always (1994) to supermarkets that have replaced the movie theaters. or in the satirical Foix (1994) in this county Ariege considered the most "cheesy" of France.
Luc Moullet, filmmaker singular plural
But Luc Moullet, living critically opposed to all systems of thought fossilized, just does not make films like the brilliant Finds Geo- imagine all his wacky inventions. For this man singular and plural has several other hats: actor, including (in many of his films and also in Pascal Kane and Laurence Ferreira-Barbosa, for example), but also occasional producer (for The Pig by Jean Eustache and Nathalie Granger Marguerite Duras), course review (since the glory days of Cahiers du Cinema from 1956 when he for example has never ceased to defend the underrated film of Cecil de Mille), and then logically meticulous essayist (about cinema of Fritz Lang or personal gesture of four major Hollywood actors - Gary Cooper, Cary Grant, John Wayne and James Stewart - in his book Politics of actors). Like many other filmmakers of the Nouvelle Vague (Jean-Luc Godard, Francois Truffaut, Claude Chabrol, Jacques Rivette ...), Cahiers du Cinema serve as a stepping stone to reach completion, which will be done with three short films decisive (A steak overcooked in 1960, Black Earth in 1961 and Capito? in 1962 in three stages, three key themes of work moulletienne already proposed, namely hunger, mountainous geography, communication failed). Then follows, in 1966, the first feature film by Luc Moullet, Brigitte and Brigitte, producing tiny but economically capitalize on that of the inventive film, which can be recognized, along with heroines almost twins (played by Frances Vatel and Colette Descombes), Eric Rohmer, Claude Chabrol, Samuel Fuller, Andre Techine and the director in person will become discrete onset recurrent home. The following smuggler in 1967, hilarious picaresque planted on an unlikely Franco-Mexican (!) While elsewhere one can canoe from the Alps to reach Boulogne-sur-Mer (!).
If you do not bike or mountain ...
critic and friend Jean Showalter said wisely Luc Moullet that "it is funny in the sense that we say a funny guy or a funny argument. There is no home of beautiful images, nor ostentatious camera effects. At its simplest, as soon as possible, at right to see what there is to it. " What meets Luc Moullet himself, stating: "I'm through being burlesque helpless and I think there is real comedy on serious subjects." This adds further by quoting one of the greatest classic Hollywood directors, Ernst Lubitsch, "the best thing for players to learn to shoot is to shoot the mountains. As I am not sure to know how to film the actors, I continue to film the mountains. " The Human Rubin made by the friend Gérard Courant in 2001 is logically a portrait filmed in the Alpes de Haute Provence where exactly Luc Moullet was born in 1937 (he turns most of his films, there is the cool and draws force of his inspiration). And the latter telling them the crazy adventures What's been several shootings anticipates what is currently in his last film date (The Prestige pending death scheduled for early 2007), The Wayward D 17 (2002), a kind of summary virtuoso and generous the whole work, which starts as a true documentary (with a voiceover telling the incompletion of learning the construction of the Departmental No. 17) and then quickly turns into delirium with, among others as the film is disheveled, a team of Cinema blocked on the set of a western mountain as broke as an adventure of Billy the Kid, a paranoid group of military who believe that the armies of Saddam Hussein invaded France at the time of the first Gulf War 1991, a smart horse trader who helps out with his cows and some cars stuck in the quagmire he has dug himself to win some money, an irascible champion race car (hilarious Bouchitey Patrick), whose appalling sexism does not prevent it from being loved by his young novice co-pilot, and finally a shepherd faun (and therefore necessarily renoirien) very friendly all women in a state of idleness sentimental.
The gay persevering scholar
Despising human absurdities (Too Human), social contradictions and cultural Hermeticism, doctor in search of symptoms most fun comic of our civilization way saturation of accumulation and commodification, cheerful and relentless adventurer whose film is paradoxically synonymous with economic marginality of centrality in terms of artistic importance (emphasized by Jean-Luc Godard and Jean-Marie Straub, Jacques Rozier, and Jean-Francois Stevenin, Alain Guiraudie and Philippe Ramos) simultaneously and mountain bicyclist, humorist and anarchist, burlesque and clinician, primitive and modern, materialist and libertarian as well as economic terms of production as that of the prodigal imagination worked in fact the body by this impulse and elementary principle of all that is hunger (his great subject, and more universal as was noted by critic Serge Daney), Luc Moullet is this filmmaker who knows persevering against comica saw his practical reason for the comedy of Pure Reason supposed to legitimize the nonsense and vices of our Preserved in its complacent society.
Saad Chakala
