by ·Comments Off on Something Wild (1986, Jonathan Demme)

The second now-obscure Jonathan Demme movie I’ve convinced Katy to watch with me – obscure, I thought, until I realized that it’s got a big Criterion reissue this month. Fun movie, but it couldn’t quite shake the dull grime of the 1980’s or transcend the sappy yuppy spirit of Jeff Daniels’s character. Mostly I loved the music – about fifty songs by members of Talking Heads, X, New Order and (in person!) The Feelies. I also appreciated the similarity with Blue Velvet from the same year – naive boy goes on adventure, meets wicked man who appears to be his opposite but proclaims “we’re the same.”

Daniels thinks he’s living dangerously when he gets picked up by Melanie Griffith and whisked away from his boring banker life, but she’s a vanilla cupcake next to her career criminal husband Ray Liotta, who whisks her right back. Daniels finally steps up from his passive role, follows the couple and steals Griffith back, leading to a final face-off as the movie gets darker. After all that, I like how Griffith almost leaves him for lying about his marital status, the lie being worse in her eyes than cheating on a loving wife would have been. Writer E. Max Frye would later make the Cage/Jackson caper Amos & Andrew, which I think I watched once on cable.

D. Thompson:

What distinguishes Demme’s film is that his hero’s journey is not just a matter of surviving all the dangers and torments that are thrown at him. He undergoes a profound exposure to the different classes, backgrounds, and ethnicities that make up America, and ultimately questions what he does and just who he is.

Thompson also mentions one of the characteristics that makes Demme’s movies so appealing to me, and possibly to frequent collaborator David Byrne as well. “He has a fond eye for the textures of Americana: the boasting billboards, the friendly signs, the even friendlier storekeepers, the name tags sported by waitresses, the gospel chapels.”

by ·Comments Off on I Want To Go Home (1989, Alain Resnais)

A comedy with grating performances and no jokes. One of the central points of the movie is this crude American cartoonist who is only appreciated by Parisian intellectuals, possibly in reference to Resnais influence Jerry Lewis. But Resnais (and writer Jules Feiffer, who critically also adapted Robert Altman’s failed live-action cartoon Popeye) make an unfunny movie about an unlikeable artist – perhaps a movie only French intellectuals could love.

Joey, Lena, Gerard:

Opens (after the multilingual credits) with a lovely process shot of a plane in the clouds, then follows with young Elsie speaking to herself, alternating between unconvincing French and unconvincing English, and seeing visions of poorly-animated cartoon cats. With a name like Laura Benson, shouldn’t her English be fine? Turns out she’s just not a good actress.

Two years later Joey, a blustery Walter-Matthauish guy with large teeth (played by Adolph Green, writer of the song “New York, New York”) who also sees cartoon cats arrives in Paris with his suffering girlfriend/assistant Lena. He ignores her, hates Paris, wants to see his daughter Elsie, but ends up meeting Elsie’s idol, famous Flaubert scholar Gerard Depardieu, going to his house (followed, belatedly, by Elsie) and hooking up with Gerard’s mom Isabelle (Micheline Presle of Rivette’s The Nun, American Guerrilla in the Philippines), while Lena wanders dejected in the background. A cartoon costume party ensues (with prominent Popeye and Olive Oyl characters), revealing that Alain Resnais has no particular talent for big madcap comic action sequences. It should be over, but we’re inexplicably treated to five more minutes of extremely grating loud complaints from Joey, a couple of undeserved reconciliation scenes, and a possible new love interest for Elsie as she returns to the U.S. leaving Joey to torment people in France.

I was hopeful. I’ve heard this was Resnais’s worst film, but figured a huge fan such as myself should still find plenty to appreciate. Sure it started terribly, but it got increasingly bearable, peaking with a nice looking father/daughter scene in a secret room at Gerard’s house (above). But then it quickly ramped back up from there, and I was left weary and annoyed by the end.

Geraldine Chaplin, sailing safely above it all:

by ·Comments Off on A Tale of the Wind (1988, Joris Ivens & Marceline Loridan)

This was unexpectedly awesome. Between this, Regen and A Valparaiso, it’s time to consider adding Ivens to my list of favorite people. Sort of a Beaches of Joris, but less confessional to camera, shot more like an allegorical feature film starring himself. Always playful and never loaded with dialogue, with the occasional film reference, fable flashback or appearance by a prankster tiger-monkey.

Joris sets out to film the wind, goes to China. He trades a print of one of his films (“my first love story in 1930”) for a wind-creating mask. He sets up an array of microphones in the desert. He gets carried over mountains and enters political negotiations to film at a cultural landmark (the Terracotta Army), then gives up and recreates the landmark using models bought from street vendors.

At one point when he walks up to a massive Buddha statue which watches with a thousand eyes, closeups cutting from an eye to the camera lens, I thought strongly of Antonioni’s short Michelangelo Eye to Eye, also made by a director in his 90’s. But while Antonioni has always seemed associated with monuments, this was just a leisurely sidetrack for Ivens before returning to the matter of the wind, sixty years after he filmed the rain in Regen.

Senses of Cinema:

This is an unusually personal account of his lyrical rather than his political obsessions, largely directed by Marceline Loridan-Ivens, his wife and collaborator since the Vietnam films. … Joris Ivens died in 1989, only days after joining protesters against the Tiananmen Square massacre in Paris.

Mango Grove:

Ivens originally planned to use two crews; Ivens’s crew would film the wind, while Loridan’s crew would film Ivens’s crew filming the wind. Complications arose. Ivens was sick and, in a particularly serious incident, required on-the-scene surgery. … Thus the two crews became one. The Wind became Loridan’s film.

Speaking of Loridan, this also sounds good (from ivens.nl):

With La Petite Prairie aux Bouleaux, Marceline Loridan-Ivens made her feature film debut, at the age of 74. … She had agreed with Joris Ivens after A Tale of The Wind, their last project together in which documentary and fiction are mixed together, that she would make the tale of the fire. For a long time she dared not return to Birkenau, but finally she succeeded where Steven Spielberg and Roberto Benigni failed, she got permission to film on the premises of Birkenau. … It is a film about the pain and illusive character of the memory.

Rosenbaum:

The film is clearly addressed to the West and not to China … and the overall message is to listen to all that China has to say. … Both poetic essay and meditative fiction, A Tale of the Wind has certain affinities with movies as different as Jean Cocteau’s The Testament of Orpheus, Chris Marker’s Sans soleil, and Souleymane Cissé’s Brightness, but it is too proud to owe its vision to any source beyond Ivens’s own far-reaching experience and research. Part of the film’s inspired thesis appears to be that cinema and history, fantasy and documentary, have a lot to teach each other.

by ·Comments Off on Love Unto Death (1984, Alain Resnais)

Each scene (and the definition of a scene ranged from a single spoken sentence to a 6-8 minute stretch) is followed by complex music over a dark screen with falling snow, the snow sometimes thick and heavy, sometimes falling at different angles or drifting sparsely or entirely absent. Katy liked the movie but disapproved of the unhappy ending and the snow scenes. I loved the whole thing, am thinking of extracting the snow music and burning a CD.

The final Resnais film with Jean Gruault, writer of Mon Oncle d’Amerique and La Vie est un roman. Scientist Elizabeth (Sabine Azéma – I was recently loving her in Wild Grass and she’s just as great here) is the new girlfriend (2 months) of archaeologist Simon (Pierre Arditi of Not on the Lips, Coeurs). He gets checkups and is found to be in perfect health, yet he experiences fainting spells, possibly heart attacks, and at the beginning of the movie he’s declared dead by family doctor Jean Dasté (L’Atalante star, also of The War Is Over), who is embarrassed that Simon awakens a few minutes later.

Their good love/hate friends (André Dussollier – in Love on the Ground the same year, hard to recognize at first without his white hair – and Fanny Ardant – I recognized her from La Vie est un roman and Katy from 8 Women) both work in the church, and Simon is a fervent nonbeliever. Now that they have reason to be talking about life and death, suicide and resurrection, there’s much heated disagreement, then the two try again to comfort Elizabeth after Simon dies (again) from his mysterious ailment. Has a harsh but beautiful ending.

Grunes, always succinct:

Resnais tweaks Time in L’amour à mort. A genetic botanist, Elisabeth works toward the future; an archaeologist, Simon digs into the past. … Sometimes the inserts are only blackness, and sometimes the inserts are so frequent that the human drama seems what’s inserted. … As Simon dies again Elisabeth promises to join him. They already seem a fully meshed couple; the Martignacs, an unmeshed one. Resnais’s final shots suggest that the film has always really been about the Martignacs.

Except for Sabine’s horrid black coat, there’s no infernal fashion or general early-80’s ugliness, but then again, this is set in the countryside. I suppose all the garish proto-punks were confined to Paris at the time.

MAY 2025: Watched in HD, beautiful movie.

by ·Comments Off on Under The Volcano (1984, John Huston)

Wanted to check out some more late Huston before the upcoming Emory screening of The Dead, since I don’t believe Wise Blood is typical of his films. But now, having seen these two plus The Maltese Falcon and nothing in between, I still have no idea what is typical of his films. It’s got that familiar 1970’s grime all over it, so either Huston was late in adapting to 80’s-style cinema or, more likely, Mexico was still in the 70’s.

“Some things you can’t apologize for.”

“Hell is my natural habitat.”

Full of fun quotes, mostly spoken by literate drunk Albert Finney, who gave up sobriety when his wife left a year prior. Finney (a few years before Miller’s Crossing) is tended by his brother Hugh (Anthony Andrews, lately of The King’s Speech), and all is depressingly normal until the now-ex-wife (Jacqueline Bisset, the mother in The Ceremony) shows up unexpectedly. Finney goes off the deep end with the drinking and erratic behavior, ending up shot to death in a hostile bar/whorehouse, scaring a horse into trampling to death his wife in front of Hugh, with whom she’d been having an affair before she originally left Mexico. It’s a great ending to a movie which overall didn’t strike me as hard as it seems to strike everyone else.

Finney and Bisset:

Andrews spontaneously goes bullfighting:

Didn’t watch the many DVD extras so I still know nothing about author Malcolm Lowry. Alex North brings his heavy hand to the proceedings, not offending except once during a comedy scene when he got overexcited. Shot with Mexican D.P. Gabriel Figueroa, who worked on at least four of Bunuel’s best films.

C. Viviani makes connections to The Dead:

It was with The Man Who Would Be King (1975), a project that he had been thinking about since the 1950s—based on a Rudyard Kipling story—that Huston made his return to literary adaptation. After the success of that bold “action-adventure” (in which both the action and the adventure are more within the characters than on the screen), Huston began favoring fictional works that were problematic, in terms of translating them to screen, because of the importance given to internal monologue or their absence of action. In less than ten years Huston would adapt three stories considered to be “unadapt-able”: Wise Blood, by Flannery O’Connor, Under the Volcano, by Malcolm Lowry, and The Dead, by James Joyce. In each case the adaptation rose to the challenge by deliberately ignoring false problems and by choosing to render the spirit rather than the letter of the original. It was not a matter of filming everything but of filming only what Huston liked, which is, in fact, a constant throughout his work. The culmination of this approach, The Dead (1987), is a film that is both respectful and free, and it became a kind of legacy work, in which Huston does not so much film Joyce’s story as use it as a pretext for offering his daughter Anjelica and his son Tony the gift of his artistic heritage.

by ·Comments Off on The Dead (1987, John Huston)

Salman Rushdie came better prepared this time. He’s a fan of John Huston in general, but after programming the long-unseen Wise Blood last year for his “great adaptations” series, he turned out not to like the adaptation very much. This one he talked about as if he’d just watched it.

It’s quite a strange movie, and seems profoundly appropriate as a great action/adventure director’s final film. Opens with some friends arriving at a small party hosted by a couple of older women, spends ninety minutes at the party, then a short cab ride home with Anjelica Huston (oscar-winning for her previous John Huston film) and her husband Donal McCann (obviously not a huge film actor, was in Rawhead Rex the previous year, and not even in the lead). She confesses to her husband about a boy who loved her when she was in high school, who loved her with a passion her husband has never known, who died when she left town. And after she falls asleep, he looks out the window, his thoughts in voiceover are the James Joyce story’s celebrated final paragraph.

Ebert has a really wonderful write-up on the film:

The Dead ends in sadness, but it is one of the great romantic films, fearless in its regard for regret and tenderness. John Huston … had an instinctive sympathy for the kindness with which the guests at the Misses Morkan’s party accepted one another’s lives and failings. … Gabriel is the witness to it all. An early shot shows the back of his head, regarding everyone in the room. Later he will see his wife, finally, as the person she really is and always has been. And he will see himself, with his ambitions as a journalist, the bright light of his family, the pride of his aunts, as a paltry fellow resting on unworthy accomplishments. Did these thoughts go through John Huston’s mind as he chose his last film and directed it? How could they not? And if all those sad things were true, then he could at least communicate them with grace and poetry, in a film as quiet and forgiving as the falling snow.

The only actor I recognized (besides Huston, of course) was Colm Meaney in a minor role. Also in the room here Dan O’Herlihy (Buñuel’s Robinson Crusoe), Donal Donnelly (of Richard Lester’s The Knack) as a drunk, Helena Carroll (The Friends of Eddie Coyle) as one of the hostesses (don’t know if she’s the one in charge or the one who sings a song who McCann imagines dead in the final monologue) and Marie Kean (Barry Lyndon’s mother).

by ·Comments Off on For All Mankind (1989, Al Reinert)

Very nicely assembled space doc, a tribute to the Apollo missions. Some 16 years after we stopped going to the moon, Reinert montaged audio interviews and film records from the flights into a concise movie with some familiar imagery (still good to see it in well-restored HD) but plenty of new stuff for a space novice like myself.

Lots of anti-gravity play, and talk about music. I was impressed that one astronaut took the 2001: A Space Odyssey soundtrack into space, forgetting that the film predated the first moon landing. And speaking of music, I liked the documentary’s music without paying much attention, didn’t realize until the end credits that it’s all by Brian Eno. Nor did it really occur to me until more than halfway through the short feature that multiple missions were being shuffled without comment. These are two things I’ll have to focus on next time. Turns out Reinert cowrote that Final Fantasy movie I hated, but I can’t hold that against him now.

T. Rafferty:

What he does in this project, editing millions of feet of film and hundreds of hours of audio recordings into an eighty-minute feature, is treat the whole Apollo adventure as a single, epic trip to the moon, peopled by a crew so anonymous that it seems to represent, well, all mankind. … [Nobody] is identified by name. The film simply proceeds, with serene inevitability, from one fiery liftoff to one gentle splashdown, not troubling itself to distinguish any individual mission from any other and never interrupting the hypnotic flow of otherworldly imagery with a shot of a talking head. At first, when one of the offscreen voices says something unusually poetic, or funny, you wonder whose voice it is, but after a while you stop wondering. It doesn’t seem to matter. It’s everybody’s voice.

Reinert:

I began interviewing the Apollo astronauts in 1976. They were mostly retired astronauts by then, changed men. Over the years I taped nearly 80 hours of interviews with those original extraterrestrial humans, and excerpts from the tapes constitute the major part of the soundtrack of For All Mankind. The movie thus speaks with the intimate voice of personal experience.
…
For All Mankind is the firsthand story of a great mythic adventure. Touching the Moon was by definition a work of inspired imagination and high art, and scarcely requires further embellishment. It speaks for itself more eloquently than it can ever be interpreted: an age-old dream that at long last was fulfilled.

Rafferty again:

It takes enormous daring to make an avant-garde movie about people as determinedly square as the scientists, technicians, and pilots of the Apollo team; where this journalist, who had never directed a movie before, found the inspiration for that unlikely project is—like so much in the film—unfathomable. … In the late nineties, HBO aired a twelve-part docudrama series called From the Earth to the Moon, to which Reinert contributed two scripts. (The series is less exciting than it should have been—it tries too hard to be stirring—but its history is pretty reliable.) Reinert also had a hand in writing Ron Howard’s Apollo 13, which effectively (if, again, a bit too strenuously) dramatizes the 1970 mission … But For All Mankind is irreplaceable: one of a kind and likely to remain so. It is, formally, among the most radical American films of the past quarter century and, emotionally, among the most powerfully affecting.

by ·1 Comment

One of my most beloved 80’s horror movies, possibly because it’s never been very popular, nor has it been spoiled by sequels (part 2 wasn’t so bad) or remakes (though Bill S. Preston, Esq. has his eyes on one). I watched it again and again on TV, and since it’s not rated R, I probably didn’t miss much. Thanks much to the Plaza and Splatter Cinema, I have now seen it in an actual cinema on actual film. It’s kind of a kids movie, and I still take issue with a giant earth-conquering demon from hell being defeated by a kid with a model rocket, but otherwise perfectly enjoyable.

I’d forgotten some details: a couple of valuable geodes pulled from the hole early on, friend Terry’s dead-mother issues and his collection of moths in a jar. Also didn’t realize how kids’ toys are woven into the movie. There’s the rocket of course – I’d misremembered the devil-thwarting “pure love and light” being a marketing slogan on the rocket’s box, but the shabby, dollar-bin-design box just has a rainbow on it. I guess it’s Dorff’s belief in the rocket as a symbol of love/light that wins out, like the kid in Stephen King’s It spraying monsters with his inhaler while shouting “this is acid!” More child’s play: the hole is initially opened far enough to let those awesome ankle-biting micro-demons out when the kids read words formed by the geode on a toy writing tablet, evil demon-Terry is stabbed with a barbie doll, and the secret of demon banishment is discovered by playing a record backwards. That one is especially fun in a subversive way – parents used to worry that kids would pick up secret satanic messages from metal albums, and this one teaches them how to fight evil, not how to summon it.

Director Tibor, as has been discussed here already, made the pretty cool I, Madman, then Gate II, and went slowly downhill towards the truly stinky Christian Slater movie Lies & Illusions. Writer Michael Nankin is directing respectable TV shows (and CSI) these days. Dorff’s big sister Christa Denton never made it out of the eighties, acting-wise (although one of her slumber-party friends later starred in Candyman 2), and tragically, neither did Louis Tripp, who played Terry, except for a rumored cameo in a late-90’s Edward Furlong comedy.

by ·Comments Off on Merry-Go-Round (1981, Jacques Rivette)

When someone in the film world dies I don’t always run out and watch one of their movies – only when it’s someone meaningful to me, like Claude Chabrol, Dennis Hopper and Eric Rohmer. I once considered holding a monthly “death of cinema” screening, inviting people over to watch the work of whoever had died that month (there’s always someone), but as with all my plans to watch movies in groups, it fell through – nobody liked Rohmer’s final film, so Katy suggested I not do that anymore. But Maria Schneider warrants a memorial screening because she starred in one of the few Jacques Rivette films I haven’t yet seen, and I happen to have a nice subtitled copy of it handy.

Maria Schneider at dinner:

Schneider was allegedly exploited in Last Tango in Paris, backed out of Caligula, fired from That Obscure Object of Desire, and not up to the task of leading a Rivette picture, which probably explains her replacement in certain sequences by a different actress. But she’s still revered for her part in The Passenger and for being so naked in the early 70’s. This was actually Schneider’s second movie titled Merry-Go-Round – the first was in 1973, a (West) German remake of La Ronde.

Schneider’s costar is Warhol actor Joe Dallesandro, the houseboy/lover in Blood For Dracula. Yes, this is weird casting for a Rivette movie. But production-wise we’re in familiar territory, with the Out 1/Duelle team of Schiffman, de Gregorio, Tchalgadjieff and Lubtchansky (X2). By the end we’ve got triple-cross conspiracies, psychics, secret weapons, assassinations and meetings in the park, so the Rivette touchstones are all there. It’s also surprisingly good-looking (if not up to Duelle/Noroit standards) for such a reputedly troubled film.

Joe and Maria:

The story goes that Maria’s father is presumed dead and some four million dollars left in his care are unaccounted for. Maria’s elusive sister Liz (Danièle Gegauff, a producer on Out 1 and star of a single Chabrol film) summons Maria and Joe (Liz’s boyfriend) but fails to show up herself, so these two meet and go on an adventure together. Liz shows up briefly, along with a bunch more characters, each of whom want to help either Maria or her possibly-alive father, or more likely, want a share of the money. Most suspicious is Shirley (Sylvie Matton, whose husband directed her and Udo Kier in his adult horror Spermula), who is possibly either Liz’s best friend, the father’s ex-lover, Joe’s sister or none of the above,

Maria’s sister Liz with Suspicious Shirley:

The movie seems to fits neatly in the Rivette filmography, with on-camera musicians like predecessor Duelle, and a couple of characters chasing around the country trying to solve a possibly imagined mystery a la follow-up Pont du Nord. But there are some wrinkles. The grasp on the mystery is soon lost and Joe and Maria ramble, their relationship growing increasingly unpleasant, then the plot returns with a puzzling vengeance in the last half hour. Plus there are unexplained fantasy scenes, with Joe and a suspiciously Maria-like girl (played by Hermine Karagheuz, Marie in Out 1) chasing each other through forests and deserts, with appearances by snakes, rifles and a mounted armored knight.

Marie/Karagheuz:

Jean-Francois Stevenin (“Max” in Le Pont du Nord) is in an early scene with the two sisters, and seems to kidnap Liz (cue Walter: “the girl kidnapped herself”). Seemingly trustworthy lawyer-type Renée (Francoise Prevost of Vadim’s segment in Spirits of the Dead) and the mysterious Shirley put our duo up to collecting the key and combination/location of the father’s safe in order to retrieve the money (this is never done, as far as I could tell). Psychic Mr. Danvers (Maurice Garrel, Philippe Garrel’s father, played Emmanuelle Devos’s dying father in Kings and Queen, also amusingly in a movie called Noli Me Tangere) pretends to be the post-plastic-surgery father of the sisters. Liz is rescued (or “rescued”, depending if we believe Walter) by Maria with Renée’s associate Jerome (Michel Berto, Honeymoon in Out 1, also in a Robbe-Grillet film) armed only with a pipe. In the end it either all goes wrong, or all goes according to plan, as Liz is shot by a sniper and Maria unloads a pistol into poor Mr. Danvers.

Mr. Danvers, we hardly knew thee

Whenever the movie just doesn’t know where to go, it cuts to either the live musicians or the fantasy scenes. I wasn’t sure what to make of them, but they grew on me. I liked the bass-and-clarinet soundtrack, the colorful, mobile cinematography. The physical action, fist-fighting and such, were pretty inept, especially coming right after Duelle starring the sprightly Jean Babilée. Movie was made to fulfill contractual obligations after the collapse of the proposed four-part series that yielded Duelle and Noroit, but then was a huge failure itself, so I’ll bet the exec producers wished they’d just left Rivette alone.

The musicians: Barre Phillips at left worked on the Naked Lunch soundtrack with Ornette Coleman, and John Surman at right has put out 20+ albums and hopefully changed his hairstyle:

Cinema-Talk:

It just has the right amount of disregard for plot that nothing seems remotely forced. This is almost unheard of in Rivette’s world. For as great as his other films are, they (almost) all seemed to be dragged down by unnecessary elements that were thrown in at the last minute. Here, everything is so completely natural (one cannot stress this enough!) that the 150-minute running time feels fairly short.

The two sisters, plus friendly assistant Jerome:

Rivette:

We started work with the two actors, and after 8 days, things were going very badly. It was like a machine that, once set in motion, must continue running despite changing regimes, forced or arbitrary accelerations, until the energy was all burned up, exhausted. That’s not at all how we filmed L’Amour fou, even if there too, the spectator feels he’s witnessing an encounter. … It’s an exaggeration to say that we placed Maria and Joe together in front of the camera and waited to see what would happen. We had a starting point of course, and then we made up the beginning of a story, with a father who had disappeared, but all along we told ourselves, this is just a pretext for Maria and Joe to get to know each other. I like that idea: two people get together because a third, who has arranged to meet them, does not show up. There have no choice but to get to know each other. It’s a situation I imagined in the context of the Resistance. Thinking about it again later, I think it was the subject of Robert Hossein’s Nuit des espions. And since I didn’t feel like making a film about the Resistance or the terrorist underground, it became that more banal situation, two people convoked by a third who is only the sister of the one and the girlfriend of the other. But since the relationship between Maria and Joe rapidly became hostile, we were forced to develop the story-line; from a mere pretext it took on a disproportionate importance. Maybe that gives the film a certain vagabond charm, I don’t know, but it really is a film with a first half-hour that’s quite coherent, and then it searches for itself three times, three times searches for a way out.”

Renée:

E. Howard:

The bulk of the film consists of Ben and Léo wandering around the French countryside, ostensibly searching for clues to Elisabeth’s disappearance or the safe combination needed to get their hands on the missing money. What they actually do is mope around a lot, wander through abandoned houses, and joke and fight and patter, improvising goofy bits like the one where Ben mocks the conspiratorial obsession with the number three by counting off increasingly lengthy numbers consisting entirely of threes. In the film’s best scene, the duo takes a break for dinner at an abandoned house whose refrigerator is improbably well-stocked: they crack open cans of sardines and make salads and drink the juice from jars of cherries, sitting across from one another at a long table with candelabras in the center. Léo jokes that it’s a bourgeois meal, and the two of them have fun playing hide and seek from behind the candle flames, and soon the conversation turns into a lighthearted seduction where it’s obvious that the actors are having as much fun as the characters.

Our heroes, looking tired and frumpy in the morning light:

Rivette again:

I like a film to be an adventure: for those who make it, and for those who see it. The adventure of this filming, I must admit, was a bit fitful: the course which was established at the outset was corrected many times, in response to contrary winds, lulls, or gentle breezes. I only hope that the finished film, with all its detours, keeps something of the dangers of the crossing, of its uncertainties, of its unclouded moments-even if, at the end, one notices that perhaps the voyage has been circular: like a “merry-go-round.”