Jacques Rivette - La Belle noiseuse AKA The Beautiful Troublemaker (1991)

[The Beautiful Troublemaker]

Karina On a lazy summer afternoon at a courtyard café of a provincial hotel, a lone, pensive artist named Nicolas (David Bursztein) abstractly observes a pair of English tourists and rough sketches them onto his journal before being distracted by the mechanical whirring of an actuated instant camera from an overlooking balcony. The surreptitious photographer is revealed to be Marianne (Emmanuelle Béart) who ostensibly complies with Nicolas' request to discuss in person the terms for which she would be willing to relinquish the presumably incriminating photograph - a playful verbal sparring that, not surprisingly, takes on an immediate sexual overtone as the two hurriedly make their way to an upstairs room on the pretense of finalizing their dubious transaction. The mysterious - and overtly unseemly - public display is soon revealed to be a role-playing game staged by the young couple, perhaps out of boredom and restlessness in the bucolic village, as Nicolas awaits the opportunity to meet with a renowned, semi-retired artist named Edouard Frenhofer (Michel Piccoli) through their mutual acquaintance, an art collector and gallery owner named Porbus (Gilles Arbona) before the couple's trip comes to an end. Ten years earlier, the reclusive Frenhofer decided to abandon an ambitious study entitled La Belle Noiseuse, inspired by the Balzac heroine - a courtesan named Catherine Lescaut - after the profound intimacy involved in the project - a self-described artistic quest to "go further" and intrinsically capture and give form to the model's ephemeral essence on canvas - began to expose the fragile vulnerability of his relationship with his wife and muse Liz (Jane Birkin) that would nearly ruin their marriage. Now goaded by Porbus to resume the ill-fated project (who offers to buy the painting upon completion sight unseen) with a different (and perhaps more importantly, less emotionally invested) model, the aging Frenhofer begins to express his reluctance and self-doubt in undertaking such a demanding task, a trepidation that the reverent and well-intentioned Nicolas attempts to assuage by offering to have Marianne pose for him. It is an impulsive and presumptuous act that soon begins to betray fissures in the young lovers' relationship as well, as their seeming carefree bohemian existence strains under the weight of Marianne's resentful acquiescence, Nicolas' passivity, and Frenhofer's consuming obsession to create a final masterpiece.

Loosely adapted from Honoré de Balzac's The Hidden Masterpiece, La Belle noiseuse is an elegantly realized, exquisitely tactile, understated, and deliberative exposition on the complex mutualism and turbulent process of artistic creation. From the lyrical opening sequence of Nicolas and Marianne's staged seduction, Jacques Rivette uses his distinctive, recurring narrative device of performance within a performance in order to illustrate the film's theme, not only of the social propensity to create insulating (and protective), emotional adaptation through masquerade and façades, but also the revelatory nature of art that results from passion, diligence, focus, sacrifice, and abandonment of fear and inhibition. Evoking both the assiduous self-discipline of manual ritual in Robert Bresson's cinema and the methodical rigor of Spanish artist Antonio Lopez Garcia in Victor Erice's contemporary film The Quince Tree Sun, Rivette eschews the stereotypical characterization of the volatile artist by incorporating real-time illustration of figure sketches and composition studies that reflect the artist's deliberate methodology: the systematic deconstruction, re-assimilation, and translation of the physical form (note the filmmaker's use of narrative linearity and extended pacing to simulate logical diurnal progression). In the end, it is through Frenhofer's thoughtful and disciplined struggle that he creates an inspired and deeply personal work of maturity and illumination - a renewed raison d'être that emerges from a humble acceptance of passage, an abandonment of persona, and a restoration of human identity.

from link










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English subtitles:
http://www.filesonic.com/file/46041907/La.Belle.Noiseuse.1991.DVDRip.Xvid-WRD.CD1.srt
http://www.filesonic.com/file/46041909/La.Belle.Noiseuse.1991.DVDRip.Xvid-WRD.CD2.srt
http://www.filesonic.com/file/46041911/La.Belle.Noiseuse.1991.DVDRip.Xvid-WRD.CD3.srt

links are interchangeable
no pass

Jacques Rivette - L'amour Fou (1969)

dvdbeaver.com wrote:
L'AMOUR FOU is about the rehearsal for a play and the crack-up of a marriage. The central character, Sebastien, is rehearsing a production of Andromaque, by Racine, with his wife Claire playing the leading role. Near the beginning of rehearsals, she leaves the production, pleading claustrophobia at the presence of a television crew filming the proceedings[...] As the rehearsals continue, Claire becomes progressively more paranoid; gratuitously, she sleeps with an ex-lover, while Sebastien is himself unfaithful with an actress from the theatre. Eventually, after a weekend during which Claire and Sebastien, locked in their apartment, engage in an orgy of sex and destruction, she boards a train and leaves him.

moviemartyr.com wrote:
Jacques Rivette’s L’Amour Fou is clearly one of the more superficially challenging films that I’ve seen of late. It’s foreign, four and a half hours long, filmed in black and white on two different stocks (with two different aspect ratios), and has a relatively thin plot. Still, it was one of the best viewing experiences that I’ve had in months. [...]

It follows the dissolution of a marriage between Claire, an actress (brilliantly played by Bulle Ogier), and Sebastien, her director (Jean-Pierre Kalfon). This specificity allows the characters to be developed to an extent that’s almost unparalleled in cinema. Rivette uses the longer running time of the film to establish their relationship’s end as the result of a recurring cycle of self-destructive behavior, and not just the fallout from a nasty squabble. Neither in the duo is any more to blame for the breakup than the other. She realizes he will only respond to her when she acts needy and hurt. He stops responding to her because she acts needy and hurt. Their circular routine of self-destruction is unequivocally mutual. To ask who the instigator is would be as pointless as to ask if the chicken or egg came first. Watching their breakdown is both harrowing and fascinating. The only real question for the audience is how long the two of them will both buy into the illusion that it’s going to work out.

This marital distress plays out over three weeks (shown to us day by day) in which a troupe of actors is preparing a production of Jean Racine’s version of the Greek tragedy Andromaque. Though the large passages of the play that are quoted comment directly upon the real life events around them, it’s not necessary to try to compare the overall framework of the play (in which the widowed Andromaque marries King Pyrrhus to save her son from the Greeks) to that of the film. The rehearsals seem to function more as a way for Rivette to tie this film in with the rest of the French New Wave. Since the auditions are being filmed, the commentary he offers about the function of the director, film, and the audience feels relatively unobtrusive. The crew that is filming the play’s preparations uses a hand-held 16mm camera, which by providing close-ups of the action, seems to feel what Rivette’s more formalistic 35mm compositions seem better at understanding.

What I mean by that statement is that Rivette seems to want the audience to understand the process of these rehearsals, so that we can better understand the function of the director. Sebastien, like the Cahiers crew, is quite concerned with how the audience perceives his profession, and it’s interesting that the documentarians in the film fail to show us as much about the actual process of directing the actors (e.g. the blocking, the realization of the material), since they seem more interested in the dishy such as who’s sleeping with who and whether or not the production is going to be a disaster. Rivette’s camera, which isn’t really “there” seems to have a better understanding, though, so the audience leaves with a solid understanding of this creative progression. The movie's biggest suggestion is that a director really has to work hard to do what he does and his external life is a harmful distraction to his process. This is admittedly somewhat self-serving (in the same way all the New Wave's self awareness is since it’s always making more acutely aware that film has a director), but remains compelling due to its presentation. Overall, the package makes for one of the best French films that I’ve seen. For those that can meet the challenges it poses, it’s highly recommended.

**** Masterpiece







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links are interchangeable
no subs
no pass

Jacques Rivette - L'Amour par Terre AKA Love on the Ground (1984)

An eccentric playwright (Kalfon) enlists the services of two international actresses (Chaplin and Birkin) to perform in a production to be staged within the confines of his mansion. Life begins to imitate art as the play’s scripted love triangle is transposed onto the relationship between the three leads. Rivette received criticism upon the release of the film for its similarities to his earlier success, Céline and Julie Go Boating. While it uses many of the same stylistic elements as its predecessor, Love on the Ground continues to raise provocative questions as Rivette explores the thin line between performance and reality. http://hcl.harvard.edu/hfa/films/2006winter/rivette.html

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Subs: Castellano/English
links are interchnageable
no pass

Jacques Rivette - Celine et Julie vont en bateau AKA Celine and Julie Go Boating (1974)

Quote:

Jacques Rivette continues with his improvisatory tactics, allowing lead players to invent quite freely and also collab on the script. He mixes a modernized takeoff on Alice in Wonderland and a period tale of Henry James for an over indulged, overlong film that has some gem-like moments but also repetitiveness and preciosity.

Film just does not have the sustaining humor and more irrepressible madcap inventiveness to stave off an arbitrary, intellectual heaviness.

One day a girl reading a book of magic in the park, Julie (Dominique Labourier), sees a spindly, overdressed girl scuttle by dropping things. She follows this comic figure, Celine, played with wit by Juliet Berto, loses her but finds her on her doorstep.

This mythomaniac spins all sorts of tales of adventures and trips she obviously never had. But she touches a chord in Julie with one about a house with a strange triangle of two women and a man, a child and an alcoholic nurse.

Besides Berto and Labourier, who alternate some vivid scenes with lesser-endowed ones, Bulle Ogier, Marie-France Pisier and Barbet Schroeder are effective as the ghost-like family doomed to live out their drama for eternity.








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eng sub
http://rapidshare.com/files/407958091/895_100112011856.zip.html

no pass

Jacques Rivette - La Bande des quatre AKA Gang of Four (1988)

[User Rating:7.1/10]

No film critic of 1989 could write an assessment of the French-made Gang of Four (originally La Bande des Quatre) without using the phrase "Pirandellian" at one point or another. The story revolves around the hand-picked acting class of a famed director (Bulle Ogier) who works only with women. The four members of the class (Fejria Deliba, Nathalie Richard, Bernadette Giraud and Ines de Medeiros D'Almeida) are assigned to study the text of the Marivaux play Double Infidelities. Now, it just so happens that the four actresses share an apartment...and as they begin allowing the Marivaux play to influence their offstage lives, they share a lot more than room and board. A winner of the Berlin Film Festival International Critics prize, Gang of Four maintains an acceptable level of suspense and sexual intrigue throughout, though the spell is broken by a confusing climax. -- Hal Erickson







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French audio track
+ English optional subs embedded in the mkv file
No Pass

Jacques Rivette - 36 vues du Pic Saint Loup AKA Around a Small Mountain (2009)

Around a small mountain casts a “novel, unprecedented, never seen before” light on Jacques Rivette's oeuvre. The quote is from Vittorio (Sergio Castellitto), a new, Italian incarnation of themysterious character of guide/savior/intercessor whose mission, since Va savoir, consists in releasing a princess from her spell—in other words, her past or her grief.Iis gracious, princess, inconsolably mourning her late love by a graveside (like JohnWayne talking to his departed wife in SheWore A Yellow Ribbon) is Jane Birkin. Having played the ingénue in L'Amour par terre and the great painter's former model in La Belle Noiseuse, Jane Birkin strips bare, in Around a smallmountain, the enigma of all Rivette's heroines: confined behind the bars of the Rue de Rivoli in Paris in a moment of distraction snatched from the film's Cevennes mountains, she brings to mind Anna Karina, imprisoned in a convent in La Religieuse; haunted by a mistake she didn't make, her heart aches like Sandrine Bonnaire's in Secret Défense ; madly in love with a ghost, like Pauline (Bulle Ogier) in Out 1, she moves like a tightrope walker in a halfway state between life and death, similar to the coma from which Louise (Marianne Denicourt) emerges at the start of Haut Bas Fragile. Yet Around a small mountain introduces an unprecedented space-time,which changes the rules of the game: the circus.Despite appearances, the circus isn't an extension of the theatre by other means.







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no pw no sub

Jacques Rivette - Duelle (une quarantaine) AKA Twilight (A Quarantine) (1976)

"Duelle seems to have been instantly cursed just by being the follow-up to Celine and Julie Go Boating, to this day the only Rivette film that the average buff concerns himself with ( and oh, how wrongly. ) Having finally gotten a chance to watch the film, I can see why. Where Celine and Julie could furnish a thousand college students with thesis papers on feminine play vs. masculine order, and the construction of meaning through the assumption of various roles associated with gender, and so forth, Duelle drops the intellectual ballast completely. Rivette outs himself as a mystic with this film, closer to charlatan-geniuses like Stockhausen or Rasputin than to Godard. This movie is almost like a Rosetta Stone, more dense and concentrated than anything else he's done, that the future expert will be able to use to decode his work.

Rivette's overt and unmistakable belief in the eternal presence of God and Satan on earth makes this film unfashionable to the materialistic tastes of the cultured liberal brute. If it were less sincere, this film could have been one of Rivette's most popular. There is always something special about the first collaboration between a cinematographer and a director who would later go on to make a more-or-less permanent team -- such as Ballhaus and Fassbinder with the equally undervalued Whity -- and Duelle marks the first time Rivette worked with William Lubtchansky, who has been his right arm all the way up until Marie and Julien. Lubtchansky takes Rivette out of the scratchy 16 mm. ghetto and right into glossy, bejewelled Eurotrash, complete with a gliding Ophuls camera and Sternberg lighting. Only Harry Kumel made more stylish, elegant movies in the 70's than Duelle, though they are lesser in terms of content. But Rivette still takes pains, as always, to make the film feel deliberately antique, faded, so that it will be perfect for revival in the interplanetary silent movie theatres of the future.

This movie is so attuned to my mental state that I felt like I was writing it as it proceeded, but most people will probably just find it incomprehensible. Rivette revels not in contradictions but in SEEMING contradictions. Bulle Ogier, apparently playing God, counts backwards all the time, kills the hero's girlfriend and attacks another important character with flames, yet she is still God, and still perfect good. There are many lines that will probably annoy non-devotees of French poetry, such as "The dream is the night's aquarium." And what does it mean when Jean Babilee, outdoing Travolta, raises his arm and smashes a dancehall mirror through telekinesis? Why does he wake up in the bottom of a parking garage and talk about killing a sister we've never seen ( not incidentally named Sylvie, like the innocent Sandrine Bonnaire in 1998's Secret Defense? ) Why does he become graceful and muscular, almost superhuman, when Bulle Ogier counts backwards and changes the universe to black-and-white? Why does Juliet Berto keep changing her costume? How do you escape the dancehall? If you know the answers to these questions, then it's time for you to assume the role of Sphinx, and maybe one day join Rivette in the stars."
by Delly from Los Angeles

"A magical experience" robert burton from United Kingdom

"An Obscure Masterpiece" cllrdr-1 from Los Angeles








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English and Russian subs included in the file.
no pw

Jacques Rivette - Va savoir (2001)

While in Paris in a tour of the Italian play "Como Tu Mi Vuoi", the lead actress Camille (Jeanne Balibar), who is living with the director Ugo Bassani (Sergio Castellitto), recalls and misses her former love Pierre (Jacques Bonnaffé). She visits his apartment and meets his mate Sonia (Marianne Basler). Meanwhile Ugo is searching a lost play by Goldoni, and meets the charming French Dominique (Hélène de Fougerolles) that helps him to find in her mother's private library. Meanwhile, Do's smalltime crook stepbrother Arthur (Bruno Todeschini) seduces Sonia to steal her expensive ring.

Jeanne Balibar is an underrated actress and might be at her best here. The film is written by long time Rivette collaborators Christine Laurent and Pascal Bonitzer, another underrated figure of French cinema.








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http://rapidshare.com/files/194112864/Va_Savoir.part05.rar.html
http://rapidshare.com/files/194130012/Va_Savoir.part06.rar.html
http://rapidshare.com/files/194130832/Va_Savoir.part07.rar.html
http://rapidshare.com/files/194130952/Va_Savoir.part08.rar.html
http://rapidshare.com/files/194134251/Va_Savoir.part09.rar.html
http://rapidshare.com/files/194135496/Va_Savoir.part10.rar.html
http://rapidshare.com/files/194146185/Va_Savoir.part11.rar.html
http://rapidshare.com/files/194151587/Va_Savoir.part12.rar.html

Rar Password: bbq

http://rapidshare.com/files/383820184/vas_a_voir.part01.rar
http://rapidshare.com/files/383825367/vas_a_voir.part02.rar
http://rapidshare.com/files/383830899/vas_a_voir.part03.rar
http://rapidshare.com/files/383836784/vas_a_voir.part04.rar
http://rapidshare.com/files/383843315/vas_a_voir.part05.rar
http://rapidshare.com/files/383849834/vas_a_voir.part06.rar
http://rapidshare.com/files/383855601/vas_a_voir.part07.rar
http://rapidshare.com/files/383861465/vas_a_voir.part08.rar
http://rapidshare.com/files/383866915/vas_a_voir.part09.rar
http://rapidshare.com/files/383873747/vas_a_voir.part10.rar
http://rapidshare.com/files/383926703/vas_a_voir.part11.rar
http://rapidshare.com/files/383932254/vas_a_voir.part12.rar
http://rapidshare.com/files/383937523/vas_a_voir.part13.rar
http://rapidshare.com/files/383943140/vas_a_voir.part14.rar
http://rapidshare.com/files/383948817/vas_a_voir.part15.rar
http://rapidshare.com/files/383954423/vas_a_voir.part16.rar

French, Italian (French srt when italian speaking)
no pw