Philippe Garrel

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

When film director Mathieu casts a famous actress to portray a character based on his aspiring-actress wife, he creates a rift in his marriage. French filmmaker Philippe Garrel's family members portray versions of themselves in this lyrical drama.

An androgynous poet/dreamer sits and writes and meditates on the aching void that is her life.

The portrait of a young girl from the Parisian bourgeoisie. As a brief shot indicates us, it could have been called "Portrait of the artist as a young girl." though probably "young girl" is just a previous title, but the style and the presence of the Father leaves no doubt about who paints and who's hiding behind the young girl.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

clips from nicos live perfomances, working with garrel

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

Cited as “the best filmmaker of his generation” by directors ranging from Akerman to Benoît Jacquot, Philippe Garrel remains an alluring, somewhat enigmatic figure; this rare look at his world and his art was made right after the completion of his great “autobiographical tetralogy” that ended with The Phantom Heart.

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A young film director is making a movie with his friend Christa. In the film-within-the-film there are two couples, one real, one imagined, and the film - told through five dreams - is as much the story of a film in-production, as the birth of a child.

An experimental and poetic portrait of a woman.

Jean-Baptiste, a filmmaker, and Elie, an actress, fall in love. To fight their unhappiness, they cling to their children: Jean-Baptiste to his film and Elie to her young son.

30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.

A survival, silent black & white film shot with a hand camera, a journey into Philippe Garrel's intimate family album featuring the two women who counted in his cinematographic life: Nico and Zouzou.

30 year old child enters the new city, riding on a donkey. He says he is the Savior. He has spent no time among men. He is trembling with cold. His clothes are soaked. His mother was overprotective ; his father conspicuously absent. He knows that he must face the mockery, refusal, ignorance and blindness of the men around him. They travel in gangs, in large numbers : soldiers, mercenaries or the like, on majestic, imposing horses. Everything is out of proportion to his thin, bewildered, innocent body ; he is the madman of the new city...

A composition of symbolic, surreal and almost mystic images.

"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant

Film comprised of six vignettes each illustrating one aspect of life in the French capital, each set in a different area of the city.

From Gérard Courant's Cinématon series.

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became in 1968 a meeting place for the underground community. Pierre Clémenti stays there for a while and makes images of dazzling sensuality. Beyond Pierre Clémenti's intimate love of these faces and bodies often naked in this Mediterranean landscape, the film reveals the moving beauty of a utopia where living together could still be achieved in a territory of sharing and permanent creation. Flow of perceptions of consciousness, visual impressions, physical impregnations, the work of Pierre Clémenti is an ode to sensuality and "life-cinema".

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Homemade footage of parties, travel, and everyday life.

Series of three short 'Pop Films' directed between 1966 - 67 for French television by Philippe Garrel. Includes footage of The Living Theater in rehearsal, interviews with Julian Beck and Judith Malina, Donovan in concert and The Who in the studio recording 'Pictures of Lily'. Re-broadcast on INA in 1984.

On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.

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Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)

Werther was one of the last feature films that Jean-Pierre Lajournade made for television. The Lajournade's version of Werther makes a critical rereading of Goethe's work through a challenge to bourgeois society.

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Jean Seberg, Philippe Garrel et Les Hautes solitudes is composed of excerpts from four of my films about Philippe Garrel which concern his silent masterpiece Les Hautes solitudes (1974) and its protagonist, the icon of the New Wave, Jean Seberg.