Cinematography by Michel Fournier. "Desire" list. Pierre Clementi, once more in this list. A loose and non-narrative Jesus, according to Garrel, which is a kind of a poetic justice, by his image and through Fournier and Garrel camera. He was, in that 68 filmic generation, the disturbed angel face of a generation, its personification and symbol.
Splits the difference between Buñuel and Pasolini whilst splitting the difference between LSD and heroin. Counterculture gospel for the forlorn and fucked. The more things change the more the state apparatus remains the same.
Oblique movements confer psychological dimensions to the image, until, scene by scene, it is no longer possible to distinguish between allegory and the tempest of the Barricades. Deleuze would call it arbitrary, and in being so, relative or absolute. With Pardo's companion film, both are elevated to portraits of narcicissm, ennui, and, perhaps, love, but above all, the failure of '68 to be irreversible.
at the intersection between poetry and politics but gets lost in the deluge of I and thou. The atheism in politics is the megaphone infected by the silence. (atheism is the absence of politics) God is missing and present (where is politics). The film fails to provide the necessary condition for both absolutes (god/politics). I much prefer the angle of Pasolini, God is the atheist that fails to believe in the world.
Pretty terrible film from a young Philippe Garrel that despite some stylistic flourishes fails miserably in its conceit. Garrel takes on the Christ story and attempts to draw allusions to modern times and the political climate of the time period but it all comes off as twee, ineffective and somewhat juvenile. At times brings to mind the early work of Serra (Birdsong) in its starkness and emotional vacuum.
A true gem of the French New Wave. Beautiful b&w cinematography, impressive camerawork, interesting use of light, great music. This is a unique film, something that could probably only happen during the 60's, so if you like the period and appreciate experimental films, you most likely won't be disappointed; I'd actually recommend anyone to give it a try!
A meandering hippy passion play following a Jesus figure on his journey through a biblical landscape with obscure purpose. Symbols of counterculture themes such as the violence of the state bubble up and dissipate. Its charm lies in the striking camerawork, its leisurely pace, the long silences and the crude minimalism of the locations and the action. Oddly bewitching