André S. Labarthe

A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired 24 March 2012.

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A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, never aired.

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A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired sometime around 2011.

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A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired sometime around 2011.

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Some thoughts and a hypothesis about the invention of the Close-up.

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A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired 4 July 2001.

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The film retraces the last two years of Antonin Artaud.

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“I Have to Make the Word Be Flesh” is an insightful and candid interview with the man himself about his films and his motivations. Cronenberg is cheerfully frank about his often grotesque images and controversial subject matter, and clearly relishes in the opportunity to explore the themes and motifs behind each one.

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Made for "Cinéma, de notre temps" series. Interview with Georges Franju (1912-1987), a figure of immense importance in the history of French cinema, not primarily for his films (exceptional though many of these are) but for being the co-founder, with Henri Langlois, of the Cinémathèque Française in 1936, France's most famous and important film archive.

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With Sollers, the absolute isolated, André S. Labarthe approached as closely as possible “the most recognized and the most fought, the most solicited and the most secretly hated, the most turbulent and the most embarrassing, the most uncontrollable and therefore the most intolerable, in short, the least localizable of contemporary writers.” A unique Sollers, deliberately spun outside the walls and against the grain. Far from the conventional, plethoric imagery of the spectacular Parisian scene, an inexhaustible field of social observation. Few archive elements, apart from a few photos and two significant extracts where Philippe Sollers displays his Paradise seized head-on by Jean-Paul Fargier in 1983.

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A traveller investigates the life and work of Georges Bataille. Through a staging of the writer's obsessive motives, the film succeeds in grasping the elusive: the sensitive nucleus of radical thought. The film contains the interviews with Pierre Klossowski and Jacques Pimpanneau.

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A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired 16 May 1994.

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Part of the Cinéastes de notre temps series.

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Made for "Cinéma, de notre temps" series. In a peaceful residence near the Loire River, Chabrol raised his favorite characters : monsters. In this documentary, we can see him actively working on the adaptation of Simenon's novel "Betty", and answering the questions posed by Jean Douchet (his former colleagues at the magazine "Cahiers du Cinéma"). Excerpts from The Butcher (Le Boucher), Violette Nozière, The Hatter's Ghost (Les Fantômes du chapelier) and Masks (Masques) will punctuate their meaningful and witty conversation.

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Amazing documentary shows rarely seen side of a master director. 1990 was a very good year for Martin Scorsese. After making a diverse group of films in the 80s, he reunited with Robert DeNiro for "Goodfellas" and later that year shot a segment for "New York Stories", an anthology film of three shorts by Scorsese, Woody Allen, and Francis Ford Coppola. During the editing, the French documentary series "Cinéma, de notre temps" filmed a documentary on the director, and it's a fascinating glimpse into his life, personality, and working habits as he edits his short with long-time collaborator Thelma Schoonmaker.

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André S. Labarthe invites Jerzy Skolimowski to the editing table, to analyze his film Walkower shot by shot. Episode of the TV program "Cinéma, cinémas".

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"Cinema of Our Time" is a documentary series about contemporary filmmakers from around the world, created by Janine Bazin and André S. Labarthe, as a follow-up to the acclaimed initial series "Filmmakers of Our Time" (1964-1972).

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In an old nails factory in the suburbs of Hamburg, Neumeier has the dancers of the Opera Ballet working on his choreographic masterpiece, St. Matthew's Passion.

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The space of the museum as the visitor travels through it is a long sentence of sleep. But if suddenly this sleep is interrupted, if this space is torn apart, if the hydrometric devices go haywire, then like a sleepwalker who is awakened at the edge of a roof, the object decomposes as everything has decomposed before it. which allowed it to exist. When tuberoses decompose, Zola notes, they smell human.

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The camera scans the typography of a book while the voice launches into a first attempt at reading: "Chapter one... The Passage..."; The camera freezes on the word Polynesia. In an abandoned waiting room, an ageless man keeps coughing. He is waiting. The voice resumes its attempt to read, but is interrupted by that of the witness (the writer Charles Juliet), who recounts his meetings with Jean Reverzy. The coughing man ventures into the apartment; Polynesia emerges from a television. At the origin of this series of essays, there is the desire to invite European writers of the 20th century to be read today. What they have in common is having lived and written in a Europe shaken by crises, wars and revolutions. Their works and their lives bear witness to this. Each film has the character of a very personal preface and expresses the pleasure of discovering a work.

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In the “Prefaces” series, Labarthe takes us to discover the Polish writer Bruno Schulz. André S. Labarthe presents some drawings and literary fragments and recreates with the help of photos and comments the historical, geographical and family context in which Bruno Schulz lived.

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"What is a location search ? Maybe that's it : hanging in a pub... let their thoughts flow freely." (André S. Labarthe) The camera reinvests the places that Van Gogh covered in Montmartre, but also among other things the Van Gogh Museum in Amsterdam. In this place which "looks like an airport" Labarthe imagine an incredible meeting between Vincent Van Gogh and Antonin Artaud. The Artaud's texts are read by Alain Cuny

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An acerbic criticism of the media coverage of the Cannes Film Festival and of cinema, at the time of the death of the actress Rita Hayworth. Episode of the TV program "Cinéma, cinémas".

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At the editing table, Georges Franju comments on two sequences from his film, Les Yeux sans visage. Episode of the TV program "Cinéma, cinémas".

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A Hungarian filmmaker investigates the traces Orson Welles left behind in Hollywood, maintaining the ambiguity between truth and fiction. Janine Bazin and André S. Labarthe had long hoped to dedicate an issue of their longstanding documentary series, "Cinéastes de notre temps" to Orson Welles. But the master director-actor died in 1985, and Labarthe was left with a considerable challenge: making a film about Welles, without Welles.

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Colour, form, area - this is the formula of the greatest pioneer of abstract painting. Kandinsky came to art late in life, but his impact through Der Blaue Reiter (The Blue Rider) and Bauhaus paved the way for modern art. In 1913, he created one of the first abstract pictures, the theoretical basis of which was inspired by his essay Uber das Geistige in der Kunst (On the Spiritual in Art). Accompanied by Mussorgsky's Pictures From An Exhibition Labarthe goes on a sensual journey which makes the soul resound with colours and forms. "A picture has to resound and must be bathed in an inner glow." Kandinsky

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Colour, form, area – this is the formula of the greatest pioneer of abstract painting. Kandinsky came to art late in life, but his impact through Der Blaue Reiter (The Blue Rider) and Bauhaus paved the way for modern art. In 1913, he created one of the first abstract pictures, the theoretical basis of which was inspired by his essay Über das Geistige in der Kunst (On the Spiritual in Art). Accompanied by Mussorgsky’s Pictures From An Exhibition Labarthe goes on a sensual journey which makes the soul resound with colours and forms. "A picture has to resound and must be bathed in an inner glow." Kandinsky

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After leaving France in search of a better life in America, a television producer returns with a group of burlesque dancers to take the Paris club scene by storm.

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Mixing interviews, rare archival footage and film extracts, the film shows how Melville's works were impacted by what he experienced in his youth during WWII, and how it structured his whole approach to cinema, not only in its thematic but also in its aesthetics.

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In his meetings with various different people, Jean-Luc Godard develops his thinking about history, politics, the cinema, images and time, and this will lead to his exhibition as an artist at the Pompidou Centre. Jean-Luc Godard’s conversations with Dominique Païni, Jean Narboni, André S. Labarthe, Jean-Marie Straub, Danielle Huillet and Christophe Kantcheff were filmed at his home in Rolle, in his study, at the Fresnoy National Studio for the Contemporary Arts (in front of students) and in the exhibition rooms of the Pompidou Centre.

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A retired Japanese ex-patriot living the life of a bohemian Parnassian painter in Paris loses his latest picture, and wanders into Belleville hoping to reclaim what is rightfully his. Along the way, the drifting stray cat comes into contact with a series of colorful dreamers on a never ending search for love - much like himself.

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Documentary about the work of Nouvelle Vague actor Jean-Pierre Léaud, with interview clips, film clips and contributions from directors and actors he has worked with.

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Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.

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A famous French filmmaker is hired by a major Hollywood producer to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.

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The supremely world-weary Lemmy Caution, last seen in Godard's "Alphaville" (France/1965), has several strange encounters while trying to make his way from the former East Germany to "the west."

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Family mother and model wife, Agnes hits a vehicle while driving in Paris. She immediately falls in love with the driver of the damaged car.

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Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

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Discussion between the critics André S. Labarthe, Jean Domarchi and director Marc'O, on a film of Murnau.

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A “Cinéastes de notre temps” series episode directed by french film critics Noël Burch and André S. Labarthe, originally aired in two parts.

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A troubled marriage is tested by the couple's involvement in a theatrical production of Racine’s Andromaque.

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In the third part of a Cinéastes triptych on Jean Renoir, the director sits alone in a cinema analyzing scenes from La Marseillaise and The Rules of the Game, and discussing his editing and storytelling techniques.

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Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).

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The first of three documentaries by Rivette on Jean Renoir.

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A peeping tom caught spying on a women's self-defense class is taken captive by the class leader. At first the class uses him as a training dummy, but his treatment at the hands of the ladies steadily becomes more dangerous and humiliating.

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An overview of Luis Buñuel's career. Includes an interview with the filmmaker.

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Four short films by four different directors dealing with the principles of modern life. "Illibatezza" (Rossellini): The hostess Anna Maria, to dissuade an aggressive suitor who prefers maternal tendencies, assumes an unscrupulous attitude, obeying the suggestions of her distant boyfriend. "The New World" (Godard): The deflagration of an atomic bomb causes strange effects on the inhabitants of a city. "La ricotta" (Pasolini): During the filming of a film about a religious subject, the extra Stracci dies hanging on the cross due to an indigestion of ricotta. "Il pollo spante" (Gregoretti): While an expert illustrates to a board of merchants the most modern techniques to increase sales through the discovery of the secret self of the average consumer, the human story of a bourgeois who, following these suggestions, focuses on the purchase of a plot of land in the countryside.

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This short film shows a young couple during a short period after the explosion of a nuclear bomb 120 km above Paris. The city appears unaffected, but the man begins to notice changes in the behavior of the people in general and in that of his girl friend in particular. Part of the Italian anthology film RoGoPaG (1962).

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Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.

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Unfinished film by Jean Eustache . A couple kisses. A group of friends talk inside a room. One of them reads from a paper.

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A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.

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Intimate portrait of Abel Ferrara: the result is an eccentric road movie, with the restless film maker as a charming, shabby guide around New York by night.

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The film retraces the last two years of Antonin Artaud.

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“I Have to Make the Word Be Flesh” is an insightful and candid interview with the man himself about his films and his motivations. Cronenberg is cheerfully frank about his often grotesque images and controversial subject matter, and clearly relishes in the opportunity to explore the themes and motifs behind each one.

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Made for "Cinéma, de notre temps" series. Interview with Georges Franju (1912-1987), a figure of immense importance in the history of French cinema, not primarily for his films (exceptional though many of these are) but for being the co-founder, with Henri Langlois, of the Cinémathèque Française in 1936, France's most famous and important film archive.

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A traveller investigates the life and work of Georges Bataille. Through a staging of the writer's obsessive motives, the film succeeds in grasping the elusive: the sensitive nucleus of radical thought. The film contains the interviews with Pierre Klossowski and Jacques Pimpanneau.

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Janine Bazin and André Labarthe approached Chantal Akerman about making a film for the series; eagerly, Akerman proposed a number of filmmakers—but all had already been done. So she suggested…“How about me?” Akerman creates a fascinating self-portrait that takes us through her career, aided by critics Emmanuel Burdeau and Jean Narboni and filmmaker Luc Moullet.

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Paulo Rocha catches up with his “beloved subject” in Porto, where he made Douro, Faina Fluvial in 1929, and where today Oliveira reminisces about the figure of his father, his first experience of cinema as an actor, his past as a racing driver, his first technical experiences…

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Made for "Cinéma, de notre temps" series. In a peaceful residence near the Loire River, Chabrol raised his favorite characters : monsters. In this documentary, we can see him actively working on the adaptation of Simenon's novel "Betty", and answering the questions posed by Jean Douchet (his former colleagues at the magazine "Cahiers du Cinéma"). Excerpts from The Butcher (Le Boucher), Violette Nozière, The Hatter's Ghost (Les Fantômes du chapelier) and Masks (Masques) will punctuate their meaningful and witty conversation.

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Amazing documentary shows rarely seen side of a master director. 1990 was a very good year for Martin Scorsese. After making a diverse group of films in the 80s, he reunited with Robert DeNiro for "Goodfellas" and later that year shot a segment for "New York Stories", an anthology film of three shorts by Scorsese, Woody Allen, and Francis Ford Coppola. During the editing, the French documentary series "Cinéma, de notre temps" filmed a documentary on the director, and it's a fascinating glimpse into his life, personality, and working habits as he edits his short with long-time collaborator Thelma Schoonmaker.

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This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.

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A documentary about American director David Lynch from the Cinéma, de notre temps series.

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"What is a location search ? Maybe that's it : hanging in a pub... let their thoughts flow freely." (André S. Labarthe) The camera reinvests the places that Van Gogh covered in Montmartre, but also among other things the Van Gogh Museum in Amsterdam. In this place which "looks like an airport" Labarthe imagine an incredible meeting between Vincent Van Gogh and Antonin Artaud. The Artaud's texts are read by Alain Cuny

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A Hungarian filmmaker investigates the traces Orson Welles left behind in Hollywood, maintaining the ambiguity between truth and fiction. Janine Bazin and André S. Labarthe had long hoped to dedicate an issue of their longstanding documentary series, "Cinéastes de notre temps" to Orson Welles. But the master director-actor died in 1985, and Labarthe was left with a considerable challenge: making a film about Welles, without Welles.

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Jeanne Moreau, filmed by Jacques Rozier, meets with Jerry Lewis, Barbet Schroeder and Orson Welles, among others.

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Shot while he was preparing Un Flic, Melville carefully leads Labarthe through the trajectory of his career, from his daring debut The Silence of the Sea to his great successes of the 1960s, Le Samourai and Le cercle rouge. Labarthe also details the development of the Melville “myth: the dark glasses, the trenchcoats, the Ford Mustang, and his general tough-guy demeanor. This documentary first appeared as an episode on the French television series "Cinéastes de notres temps".

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Episode of the French television series about the work of François Truffaut.

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Speaking as scenes from Anatahan are shown, for which he directed, photographed, wrote, and provided voiceover narration, film director Josef von Sternberg takes the viewer on a fantastic filmmaking journey in this presentation of Cinéastes de notre temps: Josef von Sternberg - From Silence Comes Another.

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Episode of the French television series about the work of film director Jacques Becker. (A 27-minute excerpt from this show appears on the Criterion Collection's release of "Casque d'Or." )

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An hour-long discussion between Fritz Lang and Jean-Luc Godard in which they discuss a variety of art forms, the role of the cinema, their collaboration together, and much more. (Filmed in 1964 but released for TV in 1967.)

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In the third part of a Cinéastes triptych on Jean Renoir, the director sits alone in a cinema analyzing scenes from La Marseillaise and The Rules of the Game, and discussing his editing and storytelling techniques.

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Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).

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The first of three documentaries by Rivette on Jean Renoir.

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An episode of the television program Cinéastes de notre temps in which the director gives his first on-camera interview.

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In-depth documentaries about the greatest filmmakers from around the world, all in the form of candid face-to-face interviews, conducted, created and produced by former critics for Les Cahiers du Cinéma, Janine Bazin and André S. Labarthe.

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