Philippe Garrel

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.

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Marc'O, Philippe Garrel, Bulle Ogier, Jackie Raynal and others retrace the life and work of actor, filmmaker, painter and writer Pierre Clémenti.

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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)

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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.

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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.

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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.

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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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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.

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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.

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This thriller looks at the defection of a terrorist and focuses on frequent violence and repetitive sex scenes with full frontal nudity. Henri (Hubert Lucot) belongs to a terrorist gang that orders him to kill the sister of one of their members. The member himself died when he single-handedly carried out an attack on a carload of American military advisors in Paris. Henri balks at this assignment, since the gang only wants the sister assassinated because they believe that she would name them to the authorities. Instead of following through, Henri runs away, and the others soon follow in hot pursuit.

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clips from nicos live perfomances, working with garrel

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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.

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

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Reel 20 of Gérard Courant's on-going Cinematon series.

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From Gérard Courant's Cinématon series.

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"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

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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.

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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.

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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.

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

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A composition of symbolic, surreal and almost mystic images.

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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...

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An experimental and poetic portrait of a woman.

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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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The Father's Murder tells the day in the life of a young man who wants to kill his father at all costs.

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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.

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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.

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Three siblings comprise the latest generation in a family of puppeteers led with passion by their father. They are magicians of a kind, but can barely make ends meet, working mainly for the love of their craft. Their grandmother contributes too, not only as a seamstress but also as a repository of memories and wisdom. A tragic event will challenge the desire of each sibling to carry on.

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Luc travels to Paris for the first time to sit the entrance exam for a carpentry school. There he meets Djemila, a young worker with whom he enjoys a short romance, before returning to his home town and beginning a relationship with Geneviève, whom he has known since childhood. Caught between two passions, Luc runs, resolving to fulfil his father's dreams by devoting himself to his future... until finally, he experiences true love.

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After a bad breakup, a college-aged Parisian moves into her father's flat only to discover that he is living with his new girlfriend - a young woman her age.

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Pierre and Manon are poor. They make documentaries with nothing and they live by doing odd jobs. Pierre meets a young intern, Elisabeth, and she becomes his mistress. But Pierre will not leave Manon for Elisabeth; he wants to keep both.

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The professional and emotional cross-currents between two romantically entwined theater actors played by the director’s son Louis and Anna Mouglalis.

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Paul reflects on the summer he met Angèle and Frédéric as he watches his friend being laid to rest.

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A celebrity is caught by her husband with a young lover.

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An orphan boy named Tim is afraid of the dark. However, when the stars start going out in the sky, he finds himself exploring the world of the night, alongside his new friend, the Cat Shepherd.

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1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won't throw a Molotov cocktail at the police. He smokes opium and talks about revolution with his friend, Antoine, who has an inheritance and a flat where François can stay. François meets Lilie, a sculptor who works at a foundry to support herself. They fall in love. A year passes; François continues to write, talk, smoke, and be with Lilie. Opportunities come to Lilie: what will she and François do?

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A movie director does a new film against heroin consumption, and the producers are heroin dealers.

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A wayward young man finds himself involved with two mysterious people of a previous generation. After an affair with the married Hélène, the young man tries to escape her obsessions on a road trip with Serge, a taciturn relic of the 60s.

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Philippe is a middle-aged painter, he lives with Annie : they have two kids. Just after they split up, Philippe meets Justine. He starts thinking about love, the relationship between former lovers..

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The unhappy love lives of Paul and Marcus, two artists and friends who are neither particularly young nor successful anymore.

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For those who were young, living under the delusions of love and soft drugs in Paris, May 1968 - even if the guitar is still playing, they can't hear it any longer.

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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.

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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.

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In the mist of the Algerian events, a man finds a fugitive happiness beside a local woman.

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

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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.

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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.

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Love between Georges and Hypolyte has faded. George confides in Catherine that he is still obsessed with Hypolyte. He wishes that she was a virgin but since she is not, he wishes that she was dead.

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

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Nico is an ethereal poet haunting the gaps between scenes of Jean-Pierre Kalfon, Bulle Ogier, Laurent Terzieff, and Garrel’s father, Maurice, discussing the filmmaker’s staple topics: love, psychoanalysis, and the failures of May ’68.

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Garrel convinced Jean Seberg, in the midst of a long struggle with mental illness, alcohol and drug, to “star” in this silent document of her daily life. Consisting mostly of meditative B&W close-ups of Seberg and her friends, as her torments and inner life flicker across her eerily beautiful face.

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Athanor (Nico) is searching for fire. A flame is always at the foreground. Nico naked in tombs, looking at herself in circular mirrors, Nico in castles, keeper of the fire. Nico and Musky as medieval princesses. Athanor is a film about fire.

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A composition of symbolic, surreal and almost mystic images.

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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...

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La Concentration features an androgynous young man (Jean-Pierre Léaud) and woman (Zouzou), dressed only in their underwear, locked in a room with a bed.

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A film considered almost lost even by Garrel, who recently found his negatives. Shot during the events of the May 68, it was made collectively; the film is a merge of Garrel’s and his partners’ points of view, all of them students and filmmakers that participated in the revolt.

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A 4-year-old child is the element from and around which the action develops, and brings sentiments and emotions to light.

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

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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.

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Influenced and inspired by Jean-Luc Godard, some young french directors (Jean Eustache, Francis Leroi, Jean-Michel Barjol, Romain Goupil, Luc Moullet) are talking about their problems in producing less expensive and more free films in the french industry of cinema of the 60's.

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Philippe Garrel interviews young people who have become rich on their thoughts about money and capitalism.

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Short Philippe Garrel portrait of a young woman, Handa, who loves that which is decadent, complicated, precious, cannot stand simplicity, and detests people who watch television.

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TV short for the series Bouton Rouge.

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