Films byTexts by 1972
Federico Fellini, 1972, 117’

This urban fantasia interweaves recollections of the director’s young adulthood in the era of Mussolini with an impressionistic portrait of contemporary Rome, where he and his film crew are gathering footage of the bustling cityscape.


Éric Rohmer, 1972, 97’

Frédéric’s perfectly ordered life passes by pleasantly enough. He’s married to the woman he loves, is the father of an adorable little girl, and has set up a prosperous business with a colleague. He even has free time to enjoy the pleasures of Parisian life.

Bill Douglas, 1972, 46’

Bill Douglas’s films My Childhood, My Ain Folk and My Way Home are three of the most compelling and critically acclaimed films about childhood ever made.

Andrei Tarkovsky, 1972, 167’

A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.


Alfred Hitchcock, 1972, 116’

“[...] That millions of people every day pay huge sums of money and go to great hardship merely to enjoy fear seems paradoxical. Yet it is no exag­geration. Any carnival man will tell you the rides that attract the greatest clientele are those that inspire the greatest fear.

Red Psalm
Miklós Jancsó, 1972, 87’

“Jancsó developed the mise en scène in his strenuously physical way, pacing the terrain back and forth in all directions to work out the movements of the performers and those of the camera.

Jean-Luc Godard, Jean-Pierre Gorin, 1972, 95’

“Such, in its strange, timeless beauty, is the declaration of Godard’s film. ‘Everything’s all right’ is a statement whose creative force can be gauged by the fact that, in real life, it seems clear that everything is going to hell in a handbasket.

Sarah Maldoror, 1972, 105’

The story of the repression of a member of the Angolan liberation movement and his endless search for his wife with his son, revealing of how the bureaucratic logic of colonialism works.


Article EN

Th[e] introductory intertitle, […] allows us to read in Sunrise (1927), far more than its inconsistent “philosophical” pretext, its major signifying articulations – namely, an in order of appearance: dramatis personae, but not characters in the traditional sense (the absence of names reduces the introduction of individuals to pure roles, networks of functions and attributes); time, but not history (the narrative refuses any relation to a real chronology, any temporality beyond the segmentation on which it is founded: the times of day); places, but not geography (purely fictive locations, referring to no extra-filmic reality); and finally the film’s tones, the curious “mix of genres” it produces.

Werner Herzog, 1972, 95’

“In 1560, not quite twenty years after the death of Francisco Pizarro, who had conquered Peru for Spain, an elaborately provisioned party of conquistadores set out from Quito to find the land of El Dorado. It was a fearful journey first to cross the Andes but even worse on the other side.

The Canterbury Tales
Pier Paolo Pasolini, 1972, 111’

“Despite all the writings, and they are voluminous, by Pasolini and about Pasolini, there is little reference to the fact that his work is an outstanding example of artistic Modernism. Perhaps the silence is due to his fierce dislike and rejection of Modern society.

Chantal Akerman, 1972, 11’

Panning shots describe the space of a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. Sitting on the bed there is the presence of a young woman: the filmmaker herself, eating an apple.


Days of ’36
Theodoros Angelopoulos, 1972, 105’

“More than Reconstruction, Angelopoulos’s direct indictment of the Junta came in 1972 with his film Days of ’36 [Meres tou ’36].

Chantal Akerman, 1972, 65’

“In the second of her 1972 experiments, Akerman again wanted to draw viewers’ eyes to elements in the frame that they might not otherwise have considered. Similarly focused on architecture and interior spaces, Hotel Mônterey is grander in scope than La chambre.