ONCE I drove across Texas for weeks. If I was to define Texas by a single image I’d say: an old man with a cowboy hat. Old cowboys are the saddest and most touching figures. (poem & photograph by WIM WENDERS)
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"La lune se couchait, et le dernier de ses rayons emporta bientôt le voile d'une pudeur qui, je crois, devenait importune. Tout se confondait dans les ténèbres." D. Vivant Denon (1747-1825), Point de lendemain A travers le miroir (Through a Glass Darkly), by Ingmar Bergman, one of the most disturbingly beautiful/lyrically disturbing films i have ever seen - just like some piano pieces by Bartok, Shostakovich & Prokofiev, this film will literally grind your nerves & drive you insane if it happens to catch you in one of those states, feeling as fragile inside as a kitten in the rain or a desperate soul on a cliff or in a burning building, facing the void, on the verge of an abyss... - Henrik Aeshna "C’est si bon de désobéir. Ah! cela m’ennuie de vieillir !"* "Adieu poupée, adieu leçons Il va falloir fair’ des façons. Le mois prochain je serai vieille On m’appell’ra Mademoiselle, Mademoiselle ? On m’emmèn’ra danser au bal Je pourrai sans faire de mal Mettre du rouge et fair’ des choses, On me donn’ra des bouquets d’ roses. Ça m’ennuiera j’aim’ pas les fleurs Ni le rouge à lèvres. J’ai mal aux dents, j’ai mal au cœur Et j’ai la fièvre. Cette vie est triste à mourir Ah ! cela m’ennuie de vieillir."* * Robert Desnos, extraits de "Papier buvard" Adieu ma vie, je fais la belle Adieu ma vie et ses tracas Moi, je me tire pour toujours J'ai rencontré le grand amour Et je ne veux pas le mélanger à mon passé À mes ennuis de chaque jour Pour cette fois, vous ne m'aurez pas Adieu ma vie toute en dentelle À l'ombre de la tour Eiffel Adieu ma vie, je me retourne pas Je n'ai pas un seul regret pour toi Je ne t'aimais pas J'ai rencontré le grand amour Et je me tire à tout jamais Sans le moindre regret pour toi Adieu ma vie tracée d'avance Ce petit chemin qui va tout droit À moi les horizons immenses Respirer en ouvrant les bras Pouvoir chanter Aimer sans plus penser à rien Sans lendemain, sans aucun lien D'un jour à l'autre, tout comme ça vient Adieu ma vie, je fais la belle Adieu ma vie et ses tracas Moi, je me tire pour toujours J'ai rencontré le grand amour Et je ne veux pas, Le mélanger à mon passé À mes ennuis de chaque jour Pour cette fois, vous ne m'aurez pas ! Paroles et Musique: Cyrus Bassiak (Serge Rezvani) 1963 "Jeanne Moreau chante 12 chansons de Cyrus Bassiak" © Production Jacques Canetti autres interprètes: Serge Rezvani (2006), Helena Noguerra (2007) Elle avait des yeux, des yeux d'opale... Qui me fascinaient, qui me fascinaient Marianne: What are you doing? Ferdinarnd: [looking at the mirror] Looking at myself. Marianne: And what do you see? Ferdinand: The face of a man who's driving towards a cliff at 100 km/h. Marianne: [turns the mirror towards herself] I see a woman who is in love with the man who's driving towards a cliff at 100 km/h. Ferdinand: So let's kiss. PIERROT LE FOU, JEAN-LUC GODARD “We're building prisons all over the world and calling them luxury condos.” J.G. Ballard, Cocaine Nights "Qu'est ce que je peux faire ? J'sais pas quoi faire ! Qu'est ce que je peux faire ? J'sais pas quoi faire ! Qu'est ce que je peux faire ? J'sais pas quoi faire !" Marianne in Pierrot le Fou, Jean-Luc Godard “the ragged skyline of the city resembled the disturbed encephalograph of an unresolved mental crisis.” J.G. Ballard “We live in a world ruled by fictions of every kind—mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.” J.G. Ballard, Crash "Après tout, je suis idiot, moi. Merde, merde !"
Ferdinand in Pierrot le Fou, Jean-Luc Godard “Wherever there is a filmmaker willing to confront commercialism, exploitation, pornography, technicalism, Cinema Novo will have a living cell. Wherever there is a filmmaker of any age or origin ready to put his films and his profession at the service of the crucial causes of his times, Cinema Novo will have a living cell”. Glauber Rocha (1939-1981) “A camera in the hand and an idea in the head”. That was the motto of Cinema Novo, a filmmaking movement of the 1950s and 60s that changed the face of Brazilian cinema for ever. And maybe the world too, as the new forms of making films combined neo-realism and new waves without any hesitation to revolutionise both movie theatres and entire peoples. This documentary essay, made by one of the sons of that revolution, explores one of the most important cultural and political movements in Latin America through its main authors. The result is a portrait of a generation of directors (Glauber Rocha, Nelson Pereira Dos Santos, Rui Guerra, Carlos Diegues...) who invented a new way of filmmaking by combining art, politics, condemnation and commitment with truth and aesthetic boldness. L’oeil D’or Prize for the Best Documentary in the Cannes Film Festival 2016. “Cinema Novo is a film about a generation – that of the 1950s and 60s – that created a new way of making films in Brazil. A new attitude that meant going out onto the streets to accompany the Brazilian people, taking ownership of new forms of language to formulate aesthetic and cultural questions on a new basis. What is the image of Brazil? What should be filmed, and how? These questions were reformulated based on a new political stance that blended art and the revolution. Cinema Novo created images for Brazil, and from Brazil, for the world.” Eryk Rocha, director of the film. |
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May 2018
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