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Carl Th. Dreyer


Éric Rohmer
France, 1965
Production : ORTF
61'
Français


Synopsis


Shot at Carl Theodor Dreyer’s home in Copenhagen, this conversation recalls the characteristics of his filmmaking: long shots and the omnipresence of faces. The filmmaker offers us his reflections (in French!) on his relationship with actors, the art of cinema, and his research into editing and movement.

Tënk's film review


We enter into this film in the same way as we leave it, to sacred music. This is pure Dreyer, but immediately jostled by a touch of Godard that Rohmer uses whenever possible, where Anna Karina in “My Life to Live” weeps before Joan of Arc and reads expressively with her beauty and innocence as a silent actress. Gradually we enter Copenhagen, home to an austere great master. Janine Bazin and André Labarthe meet several collaborators and actors/actresses to draw closer to Dreyer, described as a man who’s calm, meticulous and taciturn. When the interview with the filmmaker begins, we discover his handsome face, concentrating on responding adequately, polite, speaking in French… The questions reveal the New Wave desire to manufacture masters of cinema. But Dreyer foils the attempt, driven only by the ambition of his art – to describe the follies, miracles and deadlocks of faith. “I use long shots so that we can understand what the actors are saying” is the only direct answer he manages to grant us. The “Master” figure that Labarthe tries to construct does not seem to touch Dreyer, preoccupied as he is with the audacious desire to converse with the Devil, the apostles, Calvin and Satan…

Claire Simon
Director

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filmmaker

Éric Rohmer

ric Rohmer (de son vrai nom Maurice Henri Joseph Schérer) est un réalisateur français, né en 1920 et décédé en 2010. Comme ses camarades de la Nouvelle Vague, Éric Rohmer a commencé sa carrière dans le cinéma comme critique. Après avoir rédigé ses premiers articles à la fin des années 1940, il rejoint les Cahiers du cinéma peu après leur création au début des années 1950. Il en est le rédacteur en chef de 1957 à 1963. Parallèlement, il réalise tout au long des années 1950 des courts métrages et signe en 1959 son premier long métrage, "Le Signe du Lion". Il prend alors le pseudonyme de Éric Rohmer pour cacher à sa famille ses activités de cinéaste. Il a réalisé au total 23 longs métrages qui constituent une œuvre atypique et personnelle, en grande partie organisée en trois cycles : "Contes moraux", "Comédies et Proverbes" et "Contes des quatre saisons". La pédagogie tient une grande place dans son travail, le jeu aussi. Le libertinage de ses personnages ne va pas sans une morale puritaine. Ils vivent selon des principes, des règles, se définissent des parcours et s’y piègent. Considéré avec Jean-Luc Godard, François Truffaut, Claude Chabrol et Jacques Rivette comme l'une des figures majeures de la Nouvelle Vague, il a obtenu en 2001 à la Mostra de Venise un Lion d'or pour l'ensemble de sa carrière.

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