Essay
Rediscovering Daniel Pommereulle
Daniel Pommereulle on the set of La Collectionneuse (1966), courtesy of the Archives Daniel Pommereulle. On one of the French New Wave’s…
Daniel Pommereulle on the set of La Collectionneuse (1966), courtesy of the Archives Daniel Pommereulle. On one of the French New Wave’s…
While Boy Meets Girl incontestably expresses the spirit of the 1980s, it is also a film that has assimilated the cinemas of Godard and Garrel, in other words of the two previous generations (Carax was born in 1962, Garrel in 1948). We were also aware that Garrel pays close attention to contemporary French cinema, regardless from what generation, and when asked, he confirmed that he was especially interested in Carax’s film.
The city set a terrible precedent for me: I began to understand film-going—sitting in what are supposed to be the darkest, most anonymous and unassuming places—as the most important way to express my cultural and social capital. But then I moved to St. Paul, Minnesota, the greatest film city in America!
The films Philippe Garrel has sent out from 1964 to the present are like deeply intimate letters in which he reports on his travels (or perhaps the more psychedelic word ‘trip’ is better suited here) to the land of modern cinema.