André Téchiné by Bill Marshall

By Bill Marshall

This is the 1st full-length monograph in English approximately one in all France's most vital modern filmmakers, might be top recognized within the English-speaking international for his award-winning Les Roseaux sauvages/Wild Reeds of 1994. This examine locates André Téchiné inside of historic and cultural contexts that come with the Algerian conflict, could 1968 and modern globalization, and the impression of Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner, and the cinematic French New Wave. The originality of Téchiné's 16 characteristic movies lies in his refined exploration of sexuality and nationwide identification, as he demanding situations expectancies in his depictions of homosexual family, the North African dimensions of up to date French tradition, and the center-periphery courting among Paris and particularly his local southwest.

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There is already a disjunction here, in that despite her perfect cheekbones and figure she wears a rather unglamorous green mackintosh and ties her hair back (for most of the film in fact), and is obviously tormented by some previous event or circumstance: what will it take for her to ‘become Deneuve’, and to be sexually and socially empowered? Patrick Dewaere emerged fully into film stardom much later (although he was only four years younger) through the post-1968 café-théâtre movement and the breakthrough, ‘radical’ sex comedy Les Valseuses (Bertrand Blier, 1974).

Hélène invites Gilles to visit, an intimacy he initially refuses, and when they are temporarily installed there, the dialogue emphasises, ironically, how freezing cold it is. At the high point of their relationship, Hélène returns from a brief trip to her Paris solicitor as ‘Deneuve’, radiant, her hair loose, bereft of the green coat. But the weight of the past, the twin needs to remember and to forget the lost love, undermine the idyll: Gilles, in one of the film’s most intense emotional confrontations, admonishes Hélène to go on remembering, as it is a sign that he will be remembered too.

Cahiers du cinéma, 262–263 (January), 52–59. Buci-Glucksmann, C. (1984). La Raison baroque. Paris, Galilée. (1988). Le Pli: Leibniz et le baroque. Paris, Minuit. Deleuze, G. Guattari (1972). L’Anti-Oedipe: capitalisme et schizophrénie. Paris, Minuit (1984). Anti-Oedipus: Capitalism and Schizophrenia, translated by R. Hurley, M. Seem and H. Lane. London, Athlone Press. Fieschi, J. (1977). Entretien avec André Téchiné. Cinématographe, 23 (January), 21–24. Fieschi, J. (1977a). Entretien avec Bruno Nuytten.

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