Cinématon

France

1984

9060 Min

Color

Silent

Currently 3.2/5 Stars.
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DIR Gérard Courant

CAST Gérard Courant, Jean-Luc Godard, Barbet Schroeder, Nagisa Ôshima, Volker Schlöndorff, Youssef Chahine, Joseph Losey, Wim Wenders, Julie Delpy, Terry Gilliam, Ken Loach, Sergei Parajanov, Jonas Mekas, Roberto Benigni, John Berry, Lou Castel, Emilio Fernández, Samuel Fuller, Philippe Garrel, Lucile Hadzihalilovic, Danièle Huillet, Derek Jarman, Claude Jutra, Peter Kern, Gaspar Noé, Maurice Pialat, Bernard Queysanne, Jean Rouch, Raúl Ruiz, Mrinal Sen, Jean-Marie Straub, László Szabó, Alain Tanner, André Téchiné, Mai Zetterling, Zouzou, Serge Daney

Synopsis

Cinématon is a 151-hour long experimental film by French director Gérard Courant. It is considered to be the longest film ever released. Composed over 32 years from 1978 until 2010, it consists of a series of over 2000 silent vignettes, 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, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran and Julie Delpy. 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 entirety in Avignon in November, 2009 and was screened in Redondo Beach, CA on April 9th, 2010. —Wikipedia

Director

Gérard Courant

He went to Paris in 1975, he participated actively in the then flourishing of French independent film community. Dans son oeuvre multiple entre le journal et la fiction (Coeur bleu, 1980 ; Les Aventures d’Eddie Turley, 1987), se détache à partir de 1978, une impressionnante série d’autoportraits assistés, en plans fixes de 3’ 25’’, d’amis et de personnalités diverses. In his work between multiple newspaper and fiction (Blue Heart, 1980 The Adventures of Eddie Turley, 1987), stands out from 1978, an impressive series of self-portraits assisted, static shots of 3 ’25’’ , friends and different personalities. Dépassant le millier dès 1988 et flanqués de séries conjointes (Portrait de groupe, Couple, Lire), ces Cinématons font de lui un témoin sympathique de la vie cinématographique de cette fin de siècle. Going beyond the thousand in 1988 and flanked by joint sets (Group Portrait, Couple, Read), these Cinématon make him a sympathetic witness the cinematic life of the late century. Gérard… read more

He went to Paris in 1975, he participated actively in the then flourishing of French independent film community. Dans son oeuvre multiple entre le journal et la fiction (Coeur bleu, 1980 ; Les Aventures d’Eddie Turley, 1987), se détache à partir de 1978, une impressionnante série d’autoportraits assistés, en plans fixes de 3’ 25’’, d’amis et de personnalités diverses. In his work between multiple newspaper and fiction (Blue Heart, 1980 The Adventures of Eddie Turley, 1987), stands out from 1978, an impressive series of self-portraits assisted, static shots of 3 ’25’’ , friends and different personalities. Dépassant le millier dès 1988 et flanqués de séries conjointes (Portrait de groupe, Couple, Lire), ces Cinématons font de lui un témoin sympathique de la vie cinématographique de cette fin de siècle. Going beyond the thousand in 1988 and flanked by joint sets (Group Portrait, Couple, Read), these Cinématon make him a sympathetic witness the cinematic life of the late century. Gérard Courant filme le monde de façon sérielle : Cinéma (série de façades de cinémas où passent ses films), Mes lieux d’habitation, De ma voiture, Ponts routiers de la Seine à Paris, De ma chambre d’hôtel, Passion… Gérard Courant film the world serially film (a series of facades of movie theaters where his films go) My dwelling places, From my car, road bridges of the Seine in Paris, From my hotel room, Passion .. . Cet aspect typique et fameux de son oeuvre, repris de l’entreprise descriptive des Lumière, ne doit pourtant pas laisser dans l’ombre la réussite de longs-métrages singuliers, radicalement contemplatifs (Aditya, 1980, portrait d’un inépuisable visage de femme pendant 65 minutes), ou travaillant par refilmage des formes cinétiques (À propos de la Grèce, 1985). » This typical aspect and famous of his works, taken from the descriptive enterprise of the Enlightenment, however, should not overshadow the success of feature films singular, contemplative radically (Aditya, 1980, portrait of a woman’s face inexhaustible for 65 minutes), or by working refilmage forms of movement (About Greece, 1985). " — Larousse Dictionary of Cinema

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