In 1960, Jean Rouch and Edgar Morin undertook a new approach to documentary filmmaking, by posing direct questions such as “How’s your life going ? How do you manage ?” Both the filmmakers and their subjects (men and women of all ages) share in the experience of “cinema vérité” thus raising basic questions about the nature of happiness – particularly the inevitable tension between the poetic and trivial facets of our existence. –Cannes Film Festival
Jean Rouch (Paris – 31 May 1917, Niger – 18 February 2004) was a French filmmaker and anthropologist.
At their best his films are about peak experiences and are densely packed with detail. They show individuals who display a creative spirit, a wholeness and excitement which are rare in any cinema and virtually unique in ethnographic films. Moreover they are not just about “primitive peoples” but also depict his own culture and always they are concerned with dynamic situations of culture change.
He is considered to be one of the founders of the cinéma vérité in France, sharing the aesthetics of the direct cinema in the US pionered by Richard Leacock, D.A. Pennebaker and Albert and David Maysles. Rouch’s practice as a filmmaker for over sixty years in Africa, was characterized by the idea of shared anthropology. Influenced by his discovery of surrealism in his early twenties, many of his films blur the line between fiction and documentary, creating a new style of ethnofiction… read more
Um filme tão multifacetado que poucos caracteres não dão conta de resumi-lo. A perspectiva do Cinema-Verdade projeta personagens anônimos de Paris num turbilhão de emoções compartilhadas - provocadoras e mesmo chocantes - questionando o status da modernidade. Antropologia, política, sociologia, psicanálise: as ciências sociais caminham lado a lado com uma história envolvente, que nos leva a pensar a cada novo plano.
Honesta, dolorosa y desgarradora. La inquietud existencial y , sobre todo, la infelicidad de sus "personajes" nos interpelan directamente; es imposible (eso quiero pensar), permanecer indiferente ante esta película. Los testimonios de Marilou Parolini y Marceline Loridan son poderosos y, sospecho, inolvidables. La secuencia final en la sala de proyección fue absolutamente brillante. Una obra maestra del cine.
Paris captured in a crucial moment in 1960, not only in social-historical flux but also discovering new, meta-methods of filmmaking that have reverberated ever since. Cinema-verite at its most "cinematic", even when the directors are just casually listening and rolling film, letting the pangs and hustles of their bohemian and blue collar subjects create the film's drama.