Jean Eustache’s Les photos d’Alix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking. This sense of trompe l’oeil is prefigured in an early double exposed photograph of Alix’s husband, novelist Jacques Roubaud taken from a London hotel room, explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed, a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking. –filmref.com
Filmmaker, screenwriter Jean Eustache had a brief but important career in French cinema. His best-known film was 1973’s Mother and the Whore, an intense character study credited for marking a new phase in French filmmaking. He got his start as a director assisting such New Wave filmmakers as Godard during the 1960s. In the late ’60s, he launched his own directorial career with two features. While they garnered some acclaim, it was not until Mother and the Whore, his third feature, that the full depth of his talent and sensitivity was recognized. The film won the Grand Prix and the International Critics Award at Cannes. Through the 1970s, Eustache made several films for television and then made one last feature in 1975, Mes Petites Amoureuses. Eustache committed suicide in the early 1980s.—allmovie guide
I did not expect this from Eustache. He was obviously a very smart filmmaker to begin with, but here he is taking and subverting notions on the cinema to produce a dialogue about truth and one's relation to that truth (and to his or her own art), and it becomes an incredible piece of unlikely filmmaking. I can only hope his other shorts are this impressive. Savvy
what the hell are you talking about! splendid divorce between image and talk
First ever English translation of a remarkable interview with Jean Eustache for the La Revue du Cinéma, May 1971.