Anne Goupil is a literature student in Paris in 1957. Her elder brother, Pierre, takes her to a friend’s party where the guests include Philip Kaufman, an expatriate American escaping McCarthyism, and Gerard Lenz, a theatre director who arrives with the mysterious woman Terry. The talk at the party is about the apparent suicide of their friend Juan, a Spanish activist who had recently broken up with Terry. Philip warns Anne that the forces that killed Juan will soon do the same to Gerard. Gerard is trying to rehearse Shakespeare’s “Pericles”, although he has no financial backing. Anne takes a part in the play to help Gerard, and to try to discover why Juan died. —IMDb
Jacques Rivette was born in Rouen in 1928. In 1950, he began attending the Cine-Club du Quartier Latin in Paris, and contributed articles to its bulletin, the Gazette du Cinema, edited by Eric Rohmer. During this time he embarked on his career as a filmmaker with his first short films, Aux Quatre Coins (1950), Le Quadrille (1950), and Le Divertissement (1952).
Rivette’s friendship with Rohmer led him to begin writing articles for the new film journal Cahiers du Cinema. Here he met and became friends with Claude Chabrol, Francois Truffaut, and Jean-Luc Godard. At Cahiers he became one of the first to champion contemporary American cinema as opposed to the staid French “cinema of quality”, then prevalent. He became known as a fierce advocate of the auteur theory and praising the work of such directors as Howard Hawks, Nicholas Ray, John Ford, and Robert Aldritch.
In the mid-1950’s he continued his filmmaking education by serving as an assistant… read more
Maybe I've never seen a film ending as strangely, or in such a quietly horrifying way as in Paris Nous Appartient. I ask myself how it is that Hitchcock or Melville in decades of making mystery films never created a scene quite as mystifying. A moment of cinematic magic to end an exquisite (debut) work.
One of the great debuts in cinema and an ideal introduction to Rivette's work (it's an early draft of his magnum opus Out 1). All of Rivette's themes are present (theater, paranoia and puzzles). There may be a few "rough" spots (it was made on a very small budget and it shows at times) but an essential film nonetheless.
Hints of a filmmaking conspiracy.
Paris Belongs to Us/Paris nous appartient (1961)
Jacques Rivette’s wry depiction of Paris bohemian pretenders obsessed with phantom adversaries to enhance their self esteem which… read review