It was many years fallen silent to Jacques Rivette, the most dreamy of directors of the Nouvelle Vague. His last film dates back to 2009, a short time later came the news of his Alzheimer’s disease. Even before that, but you got the impression that he disappear slowly. This was no doubt that he would have worked so much less. Instead, he kept his rhythm of production of three to five films per decade, which he had followed since the seventies, in the first decade of the new century in.
Since the millennium Rivette turned four-length feature films. But he took the time not one that could be felt more clearly than about in which older, who died in March 2014 Alain Resnais. With him Rivette shared the fascination for the theater. From him Rivette separated the times of retreat which Resnais, who shot three films in his last five years of life, especially in old age, apparently did not know. Jacques Rivette but kept disappearing, and if one thinks back to him and his work, one can imagine a slow fade after each film, in which his creator is stealing from the world.
His compared with other directors leisurely succession of films had to do not only with the usual financing problems, although they were significantly – but no other filmmaker has so little sheared about what the movies promised a good deal and what is not. His tardiness was a personality trait. Rivette took breaks, he loved her, as he says in the film, the Claire Denis has rotated together with Serge Daney 1990 on him.
The painter and the model: Michel Piccoli and Emmanuelle Béart in “la belle noiseuse “
“Jacques Rivette: Le veilleur” (“The Guardian”) is this film that you watch on Youtube and which allows you to glide over to another time, a time, and in the in Parisian cafés Men Women over Kino spoke as if there were nothing more important in the world. Here tells Rivette, he felt empty after each film, and he was there also, because each film had everything taken out of him. Only slowly fill this vacuum with new plans. For this purpose he proposes in this film, in which he naturally plays the leading role, with the long, slender hands around in the air like a fluttering little bird with its wings as if to fly away the same, from the cafe on the street, and between the repeatedly passing through the car.
These are the movements that also make its films, dreamy volatile phantasiebeflügelt, as the following no other logic of stories in which everything is possible. As mysterious women walk in large costumes by old houses or duel on the trotting track at Vincennes as the sun and the moon goddess in “duels”. Since pursuing a woman reading in a manual for magicians, another that her scarf and all sorts of other things gradually loses her sunglasses, without worrying about, and then both come but in the same story. The is not dreamy, but cruel and deals with the poison murder of a young girl. So in “Céline and Julie Go Boating”, one of the most Rivette films at all.
Juliet Berto in the movie “Celine and Julie Go Boating”
A unique even among the French, who remained after the Second World War fundamentally changed what was the cinema and what it was his playfulness, the ease with which he moved in his films between fantasies and everyday life and we took in this limbo. Like no other crossed Rivette traumwandlerisch the boundary between what goes through in the film as reality, and what dream is also in the cinema – parallel worlds were the who had opened the door behind creaking doors or a dusty curtain, as if it were the most natural thing in the world.
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