The following conversation is an excerpt from the full interview, featured in the revised edition of Persistence of Vision: A Collection of Film Criticism. Edited by Joseph McBride, the book was first published in 1968 in a limited edition by the Wisconsin Film Society Press, and is now republished by Sticking Place Books. This text appears with permission of the book’s editor, who wrote the introduction to the interview, and in conjunction with the spring edition of our New Book Releases.
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André Delvaux (1926-2002) is counted among the most important filmmakers in the history of Belgian cinema. Although he started making films relatively late and without a formal education, Delvaux managed to create a rich oeuvre that paved the way for a whole generation of Belgian filmmakers. Delvaux, who according to Luc Dardenne was “the greatest and perhaps the last Belgian filmmaker”, is best known to the general public for the Belgian and international film classic De man die zijn haar kort liet knippen (1966). Admired by filmmakers such as Jean-Luc Godard, Chris Marker and Alain Resnais, his films put Belgian cinema on the map internationally. Aside from his work as a fiction and documentary filmmaker, Delvaux was actively involved in film education. In 1962, he founded the theatre and film school INSAS in Brussels together with Raymond Ravar, where he trained notable Belgian filmmakers such as Boris Lehman, Michel Khleifi, Jean-Jacques Andrien and Jaco Van Dormael among others.
A Reality in Motion
It is rare for an oeuvre of such limited size – two short films, one medium-length film, and one feature, together totalling less than 170 minutes – to have such a great impact and reach within film history. It testifies to the originality, boldness, and artistic freedom with which Jean Vigo (1905–1934) shaped his brief passage through cinema. It is this love for whatever appears before his lens, both people and forms, that makes Vigo’s cinema so unique. “Vigo had such esteem, if you will,” Dita Parlo said in Jacques Rozier’s documentary about Vigo, “a devotion to every human being, to every person, that he tried not to touch them.” It results in a cinema where reality and fiction continually merge in a dynamic of osmosis, where reality is always in motion.
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