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Showing posts with label Philippe Garrel. Show all posts

Wednesday, September 1, 2010

Philippe Garrel - Marie pour mémoire AKA Marie for Memory (1967)

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Quote:

Parallel lives of two couples destined to suicide, one, and unhappiness, the other.

Description:
Marie pour mémoire is the first feautre film of Philippe Garrel, he shot it when he was 19 years old. The movie won the Grand Prix at the Hyères young cinema festival in April 1968.

It is a story of two adolescents, Marie and Jésus who love each other and wants to live together. Their parents refuse this idea. Marie and Jésus get hurt under the order of a police-society.

Philippe Garrel said about this film: "Marie describes the trauma of the new generation."

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no pass no subs

Tuesday, July 27, 2010

Philippe Garrel - J'entends plus la guitare AKA I Don't Hear the Guitar Anymore (1991)

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Review by Alice Liddel

"J'entends plus la guitare" is dedicated to the memory of Nico, the Swedish model and actress who was director Garrel's muse, most famous as the blonde Marcello meets at the castle party in "La Dolce Vita", and the singer with the haunted monotone on the Velvet Underground's extraordinary "Banana" album. the heroine of the film is a blonde German who, like Nico, turns to drugs - her last appearance is marked by a pun on heroine/heroin (the Velvets' most famous song), and the Velvet-esque guitar of the title is no longer heard by the hero, or the director. The female is usually signalled in Garrel's films by music, as if music itself was somehow a feminine principle - the "Je", therefore, is plausibly the director's, offering the film as a mea culpa, blaming himself for a death triggered by pure male egotism. Gerard is one of the least likeable characters in European cinema, an emotional vampire who needs to suck the emotional blood out of countless women, leaving them diminished, empty, to save himself from a similar fate

Perhaps, again in tribute to Nico, Garrel's usual stylistic austerity is filtered through a Warhol-like sensibility. this is one of the most gruelling films I have ever squirmed through, in terms of style - long, punishing takes in shabby, bare environments of people either talking self-serving philosophical twaddle, or, worse, little at all, the peeling of the walls against which the characters are framed speaking more eloquently for the emotional and imaginative inertia; takes that are so long and unadorned that the characters (or actors) arent' allowed to hide, and the various mannerisms or tics or little theatrical heightenings are exposed for what they are, not as accretions to be stripped away to reveal some real 'truth', but as part of the truth that we can never strip them away, never truly give ourselves to another - and in terms of content.

http://rapidshare.com/files/166582584/PG_-_JPlus_La_Guitare.part1.rar
http://rapidshare.com/files/166583577/PG_-_JPlus_La_Guitare.part2.rar
http://rapidshare.com/files/166583576/PG_-_JPlus_La_Guitare.part3.rar
http://rapidshare.com/files/166590543/PG_-_JPlus_La_Guitare.part4.rar
http://rapidshare.com/files/166591356/PG_-_JPlus_La_Guitare.part5.rar
http://rapidshare.com/files/166591357/PG_-_JPlus_La_Guitare.part6.rar
http://rapidshare.com/files/166589256/PG_-_JPlus_La_Guitare.part7.rar

Language: French (Spanish hardcoded subs)
eng subs:
http://www.opensubtitles.org/en/subtitles/3210659/j-entends-plus-la-guitare-en

no pass

Tuesday, July 6, 2010

Philippe Garrel - Le Coeur fantome AKA The Phantom Heart (1996)

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A hangdog, middle-aged painter falls in love with a tender young college student after he leaves his philandering wife and his children in this romantic French drama. To console himself, the fundamentally bohemian Phillippe finds comfort in the arms of various prostitutes, especially Valeria. It is while searching for her that he meets lovely Justine, the student. Sparks fly and they move into together. Things go well until Phillippe begins pining for his children. This makes insecure Justine terribly jealous and tumult erupts until the aging artist is able to discover the true source of his anxieties.

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http://rapidshare.com/files/404059934/coeurfantome.part01.rar
http://rapidshare.com/files/403868305/coeurfantome.part02.rar
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http://rapidshare.com/files/404068773/coeurfantome.part11.rar
http://rapidshare.com/files/404075011/coeurfantome.part12.rar

links are interchangeable
French | Subs: Castellano/English/Pусский
no pass

Monday, June 21, 2010

Philippe Garrel - La naissance de l'amour AKA The birth of love (1993)

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A dispassionate and bedraggled middle-aged actor named Paul (Lou Castel) bids a polite farewell to the lady of the house, Hélène (Dominique Reymond) before setting out into the street, accompanied by his solemn and equally impassive host Markus (Jean-Pierre Léaud) to the local convenience store to purchase a pack of cigarettes before saying goodbye to his old friend for the evening. Seeking to break the pensive silence of their evening walk, Paul steers their idle conversation into a conduit for personal reflection on Markus' seemingly life-altering moment when he first met Hélène, a question that Markus - perhaps betraying an insecurity over the tenuous state of his relationship with her - responds to the question with initial, guarded skepticism, before proceeding to tell the genial anecdote of Hélène's forwardness in her suggestive, inviting remark that had serve to validate their coy, thinly veiled pursuit of mutual seduction during their second encounter. However, a succeeding conversation between the couple reveals Hélène's increasing apathy towards the cultivation of their relationship as Markus attempts to elicit a validation of her love for him to no avail, disguising their failed, awkward intimacy through the mundane rituals of the kitchen and random comments about the war.

The inquiry similarly proves to be a reflection of Paul's emotional ambivalence towards his own relationships with women as he spends the night with his lover Ulrika's (Johanna Ter Steege) at an anonymous hotel, listening abstractly (but with feigned, obligatory post-coital attentiveness) as she recounts her traumatic and ultimately ill-fated affair with a troubled, aimless German lover whose compounding addiction and sentimental passiveness inevitably led to a complete psychological break with reality. Reluctantly parting early one morning near a train station, Ulrika concedes that Paul's continued marriage to Fanchon (Marie-Paule Laval) prevents her from giving into the relationship completely. A subsequent evening encounter between Paul and Fanchon - now pregnant with their second child - for a pre-arranged meeting at a café mirrors Markus' earlier entreaties to Hélène, as she repeatedly asks Paul if he loves her, and instead, receives an evasive, hollow reassurance of a conceptually abstract, generic love for their growing family. Proceeding in truncated, excerpted brief encounters, the film captures the quiet tragedy of irresolution and inarticulable longing that pervades Paul and Markus' unfulfilled relationships.

Philippe Garrel presents an elegantly spare, lucidly eloquent, and captivating fractured tale of displaced idealism, spiritual resignation, and emotional inertia in The Birth of Love - For speak like Wordsworth. Using extended, extreme close-ups that visually isolate the characters from their environment and also serve to reinforce their intimate, yet emotionally dissociated encounters, the film illustrates the ambiguous and indeterminate structure of Paul and Markus' lives as they struggle to reconcile with an idle intellectualism that has replaced their once determined, youthful idealism (note that the tangential references to the first Gulf War - particularly during the birth of Paul's daughter - establish, not only a contemporary context for the film, but also provide insight into the characters' melancholic impotence over their defeated ideology, a sentiment that similar pervades the lives of the settled, domesticated former revolutionaries of Alain Tanner's Jonah Who Will Be 25 in the Year 2000). Garrel further incorporates fragmentation through episodically parallel, narrative ellipses alternating between Paul and Markus' perspectives that obscure temporality and metaphorically reflect their own existential placement and interconnection within the chaos of the world around them. It is this search to return to the purity of a cherished ideal - the titular "birth of love" - that invariably propels the characters' estranged relationships and meaningless, self-involved attempts to find unconditional loveb : a longing to overcome the complacency of aging and familiar comfort in order to recapture the passion of an inspired and uncompromised raison d'être.

Thursday, June 17, 2010

Philippe Garrel - La Cicatrice Interieure AKA Inner Scar (1972)

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Rosenbaum on Garrel:
As with some of the films of Akerman, Eustache, and Pialat, what Garrel offers is basically a restaging of a few slices of his own life--served up fairly raw, with nerves still quivering. Garrel started out as an unabashed experimental filmmaker in the mid-60s, making films in 35-millimeter as well as 16, many of them with New Wave actors (Bernadette Lafont, Zouzou, Jean Seberg, Pierre Clementi), his own actor father (Maurice Garrel), and himself. By the late 70s Garrel had gotten close enough to conventional narrative to make it into art theaters, but prior to that he was sometimes just filming portions of his life rather than restaging them. According to Thomas Lescure, who authored with Garrel the only book about Garrel to date--the 1992 Une camera a la place du coeur (A Camera in Place of a Heart)--the filmmaker divides his work into four periods: adolescence (1964-1968, eight films); the Nico years, or underground period (during which Garrel was involved with the singer Nico, who appeared in almost all of his work, 1968-1978, seven films); the "narrative" epoch (1979-1984, four films); and the current period, when he started making more use of dialogue (1988 to the present, at least five films).

Tuesday, May 18, 2010

Philippe Garrel - Sauvage Innocence AKA Wild Innocence (2001)

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A man creating a cautionary tale about drug abuse finds himself and his lover drawn into the deadly web of heroin in this drama. Francois Mauge (Mehdi Behaj Kacem) is a filmmaker who is still dealing with the death of his wife, a well-known model and actress who succumbed to drugs. Determined to make a statement about his loss through his work, Francois decides to direct a film about a woman struggling with addiction called "Wild Innocence," and casts an attractive young actress named Lucie (Julia Faure) in the leading role. Francois soon falls for Lucie and they become lovers, but Francois loses financing for his project, and in order to continue filming, he approaches a less-than-scrupulous financier, Chas (Michel Subor), who was friends with Francois' late wife. Chas offers to back the movie, but under one condition -- Francois has to help him smuggle a large quantity of heroin into France. As if this ugly irony were not enough, Lucie develops a curiosity about drugs while researching her role, and tries snorting heroin; before long, she's devolved into a full-blown addict. Philippe Garrel's film was inspired in part by his romance with Nico, the noted model, musician, and actress who herself developed a very serious drug habit during the course of their relationship.

Thursday, May 13, 2010

Philippe Garrel - Le revelateur (1968)

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This film stands out as a fine example of the Zanzibar movement in France, and as a metaphor for the spirit of repression lived during that era. The film itself was recorded mostly near german concentration camps, and the crew had a lot of problems with the police, nonetheless they managed to shoot a really wonderful film, a continous portrait of escape through dark and gray landscapes much to the reminder of the wonderful text by Gorky, which starts: "Last night I was in the Kingdom of Shadows".

--fitz
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Surreal story of a 4-year old boy (Stanislas Robiolles) and his parents (Bernadette Laffont & Laurent Terzieff) made by Philippe Garrel days after May-1968 and student revolution defeat. His first Zanzibar film, full of fears and despair.

Article about Revelateur in Sences of Cinema by Brad Stevens: link