Films byTexts by 1962
J. Lee Thompson, 1962, 106’

Upon his release after spending eight years in prison for rape, Max Cady tracks down Sam Bowden, the lawyer he holds personally responsible for his conviction. He stalks and threatens Bowden and his family.


The Boy in White Trousers
Sérgio Ricardo, 1962, 21’

A young boy living in the community of Macedo Sobrinho in Rio de Janeiro dreams of having a pair of white trousers. Unexpectedly, he gets them for Christmas, after which he sets out to parade them around with great pride.


Robert Bresson, 1962, 65’

In 1431 Jeanne, a French peasant girl, is imprisoned for heresy and brought to trial at Rouen. Despite rigorous interrogation by the judges and constant persecution from the jailers, her faith remains unshaken.

The Easy Life
Dino Risi, 1962, 105’

An impulsive braggart takes a shy law student for a two-day ride through the Roman and Tuscany countries.


“I like nothing more than driving. It relaxes me. I'll go anywhere as long as I'm driving.”

Bruno Cortona


An Autumn Afternoon
Yasujirô Ozu, 1962, 113’

The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization.

Agnès Varda, 1962, 90’

Unfolding in almost real time, Cléo de 5 à 7 chronicles two hours in the life of a self-absorbed pop singer as she waits to find out whether or not she has cancer.


« J’aime Cléo de minuit à midi ... »

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Henri Storck 1962
Ingeleid en vertaald door

Je zou daarom kunnen zeggen dat zijn kunst de samenleving is, maar dan bekeken vanuit een bepaald temperament, want daaraan ontbrak het de Heusch niet. Dat temperament stelt hem in staat om uit te barsten in een soort van bijtende, ja zelfs burleske geestdrift waarvan bepaalde trekken zich al lieten opmerken in zijn vroegere films. Je hebt goede ogen nodig om de films van de Heusch te bekijken.

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On pourrait dire alors que son art serait la société vue à travers un tempérament, de Heusch n’en manque pas. Ce tempérament peut l’amener à faire exploser une sorte de verve caustique, voire burlesque, dont certains traits dans ses films antérieurs laissaient apercevoir le bout de l’oreille. Il faudra de bons yeux pour voir les films de de Heusch.

Chris Marker, 1962, 28’

Time travel, still images, a past, present and future and the aftermath of World War III. The tale of a man, a slave, sent back and forth, in and out of time, to find a solution to the world's fate.

Orson Welles, 1962, 119’

An unassuming office worker is arrested and stands trial, but he is never made aware of his charges.


John Ford, 1962, 123’

« Au bout de quelques minutes, au moment où Ransom Stoddard est vrai­ment arrivé dans l’Ouest, la projec­tion de The Man Who Shot Liberty Valance nous frappe d’euphorie et nous avons quinze ans, cet âge heu­reux où l’on est connaisseur en wes­terns sans le savoir.

Pier Paolo Pasolini, 1962, 106’

I am a force of the Past.
My love lies only in tradition.
I come from the ruins, the churches
the altarpieces, the villages
abandoned in the Apennines or foothills
of the Alps where my brothers once lived.
I wander like a madman down the Tuscolana,