Films byTexts by 1976
FILM
Armand Gatti, 1975, 1976, 369’

Commissioned by the Centre d’animation culturelle of Montbéliard, Armand Gatti observed the town of the Peugeot factories where France’s second largest workforce was concentrated and almost 10,000 immigrants of different origins.

FILM
Michèle Rosier, 1976, 95’

In Mon coeur est rouge we spend two days in the life of a woman named Clara, played by Françoise Lebrun, who works for an advertising company. Sent away to conduct a poll on make-up, she ends up interviewing women from all walks of life.

 

FILM
Joseph Losey, 1976, 123’

In Nazi-occupied Paris, the immoral art dealer, Robert Klein, leads a life of luxury, until a copy of a Jewish newspaper brings him to the attention of the police, linking him with a mysterious doppelgänger.

 

« Si le juif n’existait pas, l’antisémite l’inventerait. »

Article NL EN
12.05.2021

It is an intriguing film because of its original position in the field of Flemish film production. This is not some attempt at a standard technical finish that’s devoid of aesthetic politics. It is a clearly defined boundary, an emphatic style within which the entire film must develop. This is an unusual (almost suicidal) road for a young (Flemish) filmmaker. His colleagues are out to make attractive films that people will consider solid and professionally made. Films that are able to attract official subsidies, but only lead the public to believe that “we” might one day be able to make one too. 

Article NL EN
12.05.2021

Het is een intrigerende film door zijn originele opstelling in het veld van de Vlaamse filmproductie. Hier geen gooi naar een standaardnorm van technische afwerking die door geen esthetische politiek gedragen wordt. Wel een nadrukkelijk afgebakende grens, een nadrukkelijke stijl waarbinnen de hele film zich dient te ontplooien. Dit is een ongewone (bijna suïcidale) weg voor een jong (Vlaams) cineast. Zijn collega’s is het altijd weer te doen om aantrekkelijke films te maken, waarvan men zal zeggen dat ze degelijk en professioneel gemaakt zijn. Films die een officiële subsidiebeurs kunnen losmaken, maar het publiek slechts de vaststelling kunnen ontlokken dat ‘wij’ het misschien ooit ook zullen kunnen.

Article NL
12.05.2021

“De hele tijd door moest ik denken aan De Metsiers van Hugo Claus en toen ik nog een heel jong adolescent was. Er is een gelijkaardige politiek in de provocatie zowel in het verhaal als in het televisiespel. Er is dezelfde inkapseling van de hele context en de verhaal-wereld in het bewustzijn van één enkele persoon. Het zijn de obsessies van de zoon die de verhoudingen in het gezin bepalen en er hun zin aan geven.”

Article EN
28.04.2021
Heiny Srour 1976
Translated by

Woman, Arab and... filmmaker. A viable situation? If so, some questions: Is there even one Arab filmmaker who has provoked an explosion of scorn for asserting in front of Marxist militants – don’t laugh – his desire to become a filmmaker? Is there even one Arab filmmaker who was forced to hide from his family that he wanted to make films? Is there even one Arab filmmaker who was called mad by X number of producers for having dared to propose to go and film a guerrilla war? Is there even one Arab filmmaker who has been told from the cradle that he fundamentally wasn’t a “creative” being? To inspire the works of others, fair enough! To write novels dealing with “feminine” subjects is allowed, but barely so (and reluctantly, by the way). But to take the camera in order to talk about human dignity (especially when insisting on women’s liberation), about national dignity? Oh, no, lady! That’s men’s business.

FILM
Renaud Victor, 1976, 95’

Documentary made by the autodidact film maker, Renaud Victor, with autistic children from Deligny’s network in Cevennes, south of France.

FILM
Armand Gatti, 1975, 1976, 369’

Commissioned by the Centre d’animation culturelle of Montbéliard, Armand Gatti observed the town of the Peugeot factories where France’s second largest workforce was concentrated and almost 10,000 immigrants of different origins.

Article EN
22.05.2019

Disarming. There’s always something disarming about the massive. The massive of impudence; the massive of self-assurance; the massive of collectivity; the massive of vulgarity; the massive of being right. Television is carried by all these incarnations of the massive. It is founded in it.

FILM
Alain Cavalier, 1976, 97’

« À bord d’une bagnole qu’il faut descendre dans le Sud de la France, quatre types se retrouvent coincés ensemble. Tandis que les deux premiers sont propres sur eux et voudraient bien « y » arriver, les deux autres sont légèrement relous, un peu largués, sacrément gouailleurs.

FILM
Nicolas Roeg, 1976, 139’

“Nicolas Roeg’s The man who Fell to Earth presents an alien (David Bowie) whose knowledge and experience of our world is entirely mediated by television.

FILM
Jacques Rivette, 1976, 121’

Two goddesses, a pair of beings from the sphere of the sun or the moon and who take the form of women, engage in a strange battle in the bars, hotels, and mystical power-spots of Paris. They fight over the possession of a magical diamond that will allow them to remain on earth.

FILM
The Stone Garden
Parviz Kimiavi, 1976, 81’

“[Kimiavi] employed an authorial, surrealist, and avant-­gardist style consisting of real people enacting either their own lives or fictionalized versions thereof; the seamless mixing of fantasy and documentary; ironic, humorous, contrastive, and critical juxtapositions of worlds, elements, and s

FILM
António Reis, Margarida Cordeiro, 1976, 108’

“For me, this film reveals a new cinematographic language. As far as I know, a director has never committed, with such obstinacy, to the cinematographic representation of a region: that is to say, to the difficult communion between men, landscapes, and the seasons.

FILM
Jean-Luc Godard, Jean-Pierre Gorin, Anne-Marie Miéville, 1976, 53’

« En 1968. pour la frange la plus radicalisée – la plus gauchiste – des cinéastes, une chose est sûre : il faut apprendre à sortir de la salle de cinéma (de la cinéphilie, de l'obscurantisme) ou la brancher au moins sur quelque chose d'autre. Et pour apprendre, il faut aller à l'école.