Real-life individuals discuss topics on society, happiness in the working class among others and with those testimonies the filmmakers create fictional moments based on their interviews. ... See full summary »
An intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnes Varda. The aesthetic, political and moral ... See full summary »
"He wrote me...." A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, ... See full summary »
This movie shows us Cléo, a French singer, who is afraid of getting the result of a test from her doctor. She believes that she has cancer and will die of the disease. We follow her for two... See full summary »
This film travels through fantasy and reality as Ivens goes to China to capture the Wind. The film reflects the film maker's journey - from his first film on the wind (Pour Le Mistral)to ... See full summary »
Real-life individuals discuss topics on society, happiness in the working class among others and with those testimonies the filmmakers create fictional moments based on their interviews. Later on, the individuals discuss the images created with their own words and see if the movie obtained their level of reality. Written by
By 1960 the documentary had evolved with new sound equipment and lighter cameras. In a direct line from the ideas of Flaherty and Vertov, Canadian filmmakers as Michel Brault had made significant shorts as "Les raquetteurs" (1959), while in the United States Robert Drew created his seminal work, "Primary" (1960.) All this activity helped the launching of "cinéma vérité" in France, with this film manifesto made by anthropologist Jean Rouch and sociologist Edgar Morin. With a "caméra vivant" (living camera) and the question "Are you happy?", they went out to the streets of Paris to make a survey, showing passages in the life of students, workers and migrants (including Joris Ivens' future wife), with a short escapade to the St. Tropez beach, and a final confrontation of the creators and subjects with the footage and the idea of constructing objective pieces of reality on film. Rouch and American Frederick Wiseman believed in a kind of documentary open to emotional spaces and fantasy (as opposed, for example, to Richard Leacock's more naturalistic approach), and eventually changed the tone of their works, while the movement finally identified with the concept of "direct cinéma", developed by Canadians and American filmmakers.
11 of 15 people found this review helpful.
Was this review helpful to you?