Para todos os cinéfilos que não gostam da passagem de ano, feliz ano novo.

um poema sobre a memória e o esquecimento

HIROSHIMA MON AMOUR

Woody is...

Encontrei por aqui umas frases que escrevi para um concurso para ganhar alguma coisa do Woody Allen, e para mim o avô Woody era:

Woody Allen é metafísica cómica, intemporalidade enternecedora e nostalgia apaixonada.

 

Com a sua visão pessimista do Mundo, Allen continua a ser o melhor antídoto para o desespero.

Entre Bergman e Freud, Woody Allen brinca com a mortalidade.

 

Allen é a insustentável e mascarada incompreensão da condição humana.

What looked like a celebration of the life of the city was, rather, an aestheticizing glorification of the life of the mind—of Allen’s mind.

The jokes about mortality that run through his films become serious as he takes his aging seriously. but his later films trade the scintillating verbal intelligence and philosophical humor of his classic films of the seventies and eighties—as well as his own dominating presence—for a quickly traced realization of the ideas that have been his lifelong obsession.

daqui

Trintignant, l'homme qui s'enivre de poésie

Vous étiez tout de même un séducteur…

Oh non ! J'étais plutôt une victime. Une victime des femmes. J'ai toujours eu des amours malheureuses. J'ai aimé plus qu'on ne m'a aimé.

 

Je bois toujours du vin. Je suis même un peu alcoolo ! Le vin, ça m'a aidé à vaincre ma timidité, ça m'a désinhibé dans ma jeunesse. L'ivresse est souvent meilleure que la lucidité.

 

Alors, pour répondre à votre question, je suis plutôt un jouisseur dans la vie. De là la citation de Prévert que j'ai sortie à Cannes. « Et si on essayait d'être heureux, ne serait-ce que pour donner l'exemple ? » Franchement, on a tous nos petits problèmes. Evitons de sombrer dans un esprit de catastrophisme.

 

Parmi tous vos films, quels sont ceux qui vous tiennent le plus à cœur ?

Le Conformiste, de Bernardo ­Bertolucci, Ma nuit chez Maud, d'Eric Rohmer et… Amour. J'aime beaucoup l'ambiguïté du Conformiste. Avec Bertolucci, on s'entendait bien. Pour Ma nuit chez Maud, je me suis d'abord dérobé, je trouvais le personnage très janséniste, trop loin de moi. Mais Rohmer m'a convaincu en disant que cela n'avait aucune importance. Il était atypique, Rohmer, il venait de l'enseignement. Selon lui, il ne fallait pas nécessairement beaucoup d'argent pour tourner et sur ce point il avait raison. Quel gâchis d'argent lorsqu'on y songe, le cinéma ! Vous savez que dans le budget de certains films hollywoodiens, la dépense seule de la promo dépasse celle de la production du film ?

 

Qu'espérez-vous maintenant ?

La mort. Je n'ai pas vraiment d'autre ambition. Je vais essayer de la réussir. Ne pas finir sous perfusion, dans un hôpital, mais mourir en bonne santé. En cela, je suis suicidaire. Si un moment, c'est irréversible, ce n'est pas la peine d'attendre… Ce serait dégradant.

 

 

Uma entrevista poética com um actor que se embebeda com Vian e Prevert e que fala como um poeta e como um filósofo. A beleza em forma de entrevista aqui.

Festival international du film restauré

Faces (1968) 

 

Minnie and Moskowitz (1971)

 

Por aqui, ultimamente, tem-se dançado com o Cassavetes.

Open letter to John Cassavetes

Your films are about love, about trust and mistrust, about isolation, joy, sadness, ecstasy and stupidity. They’re about restlessness, drunkenness, resilience and lust, about humor, stubbornness, miscommunication and fear. But mostly they’re about love and they take one to a far deeper place than any study of “narrative form.” Yeah, you are a great filmmaker, one of my favorites. But what your films illuminate most poignantly is that celluloid is one thing and the beauty, strangeness and complexity of human experience is another.

John Cassavetes, my hat is off to you. I’m holding it over my heart.

- Jim Jarmusch

 

o resto da carta aqui

"L'homme moderne cherche le repos intérieur parce qu'il est assourdi par l'extérieur et il croit trouver ce repos dans le silence intérieur ... tout sera plongé dans le silence intérieur... L'avenir apparaît à l'homme moderne... vide."

 

- Henri Maldiney

"Tiredness and waiting, even despair are the attitudes of the body. No one has gone further in this direction than Antonioni. His method: the interior through behavior, no longer experience, but “what remains of past experiences”, “what comes afterwards, when everything has been said”, such a method necessarily proceeds via the attitudes and postures of the body."

 

- Gilles Deleuze

ça c'est beau

Isto pede por um Cassavetes.

"Mais l'art justement ne nous laisse pas tranquilles."

- Henri Maldiney

tão bonito que até arrepia.

saudades do Fellini

for the love of cinema

posso desaparecer durante muito tempo, mas quando volto vale mesmo a pena
(vejam isto, é absolutamente fantástico)

A beleza de um filme não está nas imagens belas (postais!), mas no inexprimível que estas libertam.

- Robert Bresson

Dance of the Criterion collection

bicho da cidade

Quer durmas ainda nos lençóis da manhã,

Pesada, obscura, constipada, ou te pavoneies

Por entre os véus da tarde ornados de oiro fino,

Eu amo-te, ó capital infame!

Charles Baudelaire O Spleen de Paris

parfois j'ai l'impression d'être complétement envahi par la pellicule et on ne sais pas a quel moment elle se va arrêter

Rappelle-toi cela Barbara

Et ne m'en veux pas si je te tutoie

Je dis tu a tous ceux que j'aime

Même si je ne les ai vus qu'une seule fois

Je dis tu a tous ceux qui s'aiment

Même si je ne les connais pas

- Jacques Prévert

In Paris, when entering a room, everyone pays attention, seeks to make you feel welcome, to enter into conversation, is curious, responsive.

Sometimes I think of Paris not as a city but as a home. Enclosed, curtained, sheltered, intimate. The sound of rain outside the window, the spirit and the body turned towards intimacy, to friendships and loves. One more enclosed and intimate day of friendship and love, an alcove. Paris intimate like a room. Everything designed for intimacy. Five to seven was the magic hour of the lovers’ rendezvous.

- Anaïs Nin

tout simplement magnifique

Why is life worth living? It's a very good question. Um... Tracy's face..

Her featherweight voice (with the inflection of a foreigner) — that in some moments squeaks like "the mouse in the Tom & Jerry cartoon" — appears extra shaky when speaking about matters of the heart. For her, nothing is more perilous than those matters.

Tracy is not yet cynical; she hasn't been corrupted. She hasn't begun referring to friends as "geniuses" and art as "derivative." She insists on "fooling around" instead of fighting in bed. She thumbs her earlobes when she's listening and combs her hair until it's soft. She begins sentences with "Well" and "Guess what?" and asks Isaac "to have a little faith in people."

In the film's most devastating scene, the two sit at a soda shop; him with his harmonica and her with her milkshake. Here Hemingway looks especially pure. Her hair is wrapped tight in a french twist, her cardigan is creased on the sleeves (either new or ironed,) and a single ring sits on her pinky finger. Her wide elfin features and thick eyebrows appear holy; the product of one single brushstroke or carved painstakingly out of wax. The moment's melancholy anticipates itself and Isaac breaks up with Tracy. While she dips in and out of adolescence — "Gee, now I don't feel so good" and "I can't believe that you met someone that you like better than me" — her sincerity and logic remain heartbreaking. She lists what they had going for each other and the tally, for any couple, is near perfect.

daqui

"Seeing the film, I was reminded of an earlier arthouse era, where grand existential allegories from the likes of Bergman and Bresson were relatively common. Today, in a post-Tarantino world, they seem almost like an anachronism. In truth, Tarr's vision of life is far more pessimistic than either Bergman or Bresson, who both saw a potential for grace or redemption. In a way, it's a question of religion: Bergman and Bresson grappled with the existence/role of god in a world that offers neither rewards nor answers, and Tarr takes their angst to its most atheistic extreme."

daqui

Um museu que está, definitivamente, na lista "a visitar". Para ficar com água na boca e um desejo repentino de ir a Potsdam este vídeo ajudou muito.

os irmãos skladanowsky

minhas senhoras e senhores, os irmãos Skladanowsky e a ternura do olhar cinéfilo infantil de Wim Wenders

Sex and violence was never really my cup of tea; I was always more into sax and violins.

- Wim Wenders

« Êtes-vous arrangée par Duke Ellington ? »

um verão muito vian

"E a Jacqueline, estendida junto à água em fato de banho branco, com água formando pérolas nos seus cabelos, água como celofane brilhante nas suas pernas, nos seus braços, e água simplesmente molhada sobre a areia onde ela estava deitada. Então, ele baixou-se e deu umas pancadinhas nas costas do cão que lhe deixou uma grande lambidela na mão, por condescendência."

O Ganso Azul de Boris Vian

Henry goes to the cinema

by Henry The Worst

Quando o Wes Anderson faz anuncios é assim. Num mundo com cores bonitas, muita criatividade e peculiaridade e uns laivos de Truffaut.

it's great, it's grand, it's wonderland

le genie et la magie d'Ophüls

"I think I know the reason why
Producers tend to make him cry.
Inevitably they demand
Some stationary set-ups, and
A shot that does not call for tracks
Is agony for poor dear Max
Who, separated from his dolly,
Is wrapped in deepest melancholy.
Once, when they took away his crane,
I thought he'd never smile again."

- James Mason

La Ronde de Max Ophüls

uma bela roda à volta do amor e do tempo

quando boris vian é a companhia da tarde duke ellington vem sempre de mão dada

Cinezöique

back in the days

se déplacer en 3d dans des photos anciennes

that's some audio history, folks!

(até 7:18)

decisions decisions

e lá ficou Les Quatre Cents Coups

no rescaldo do fim