"Out 1" is a very precise picture of post May '68 malaise - when Utopian dreams of a new society had crashed and burned, radical terrorism was starting to emerge in unlikely places and a ... See full summary »
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"Out 1" is a very precise picture of post May '68 malaise - when Utopian dreams of a new society had crashed and burned, radical terrorism was starting to emerge in unlikely places and a great many other things. Two marginals who don't know one another stumble into the remnants of a "secret society": Colin, a seemingly deaf-mute who all of a sudden begins to talk and Frederique, a con artist working the "short con" (stealing drinks and tricking men who think she's a hooker out of their money). Meanwhile there are two theater groups rehearsing classic Greek dramas: "Seven Against Thebes" and "Prometheus Bound". A member of the Moretti group passes a note to Leaud about "The 13" which sends Leaud on a search for "The 13". His search brings him eventually to Bulle Ogier's shop in Les Halles "L'Angle du Hasard." Berto follows much the same path when she steals a cachet of letters from Jacques Doniol-Valcroze and tries to get money from their owners for their return. These twin activities ... Written by
Here is another film, similar to 1924's la Roue, where narrative structure is not only ignored, but largely obliterated in this 13 hours-long character study, acting study, process study - and film is all the more better for it.
On one hand, Out 1 is minimalist (in settings and surroundings) . On one other hand, however, it is elaborate (I am referring, obviously, to its massive run-time.)
Several conversations are filmed in mirrors, and stationary cameras in backseats film conversations during car rides, and, most amusingly, small kids and curious passersby follow cast and crew, in almost cinema verite fashion.
Interesting colour composition, especially in episodes 4 and 5; Federic, in white, on a dark green rug, in front of red tapestry hung on the wall behind her, as she begins to wonder about the mysterious Thirteen she has learned of, as the plot (sort of) kicks in; black suit on deep red sofa against pale white wall, simple composition successfully made chaotic by chess board and chess pieces in front of him. Rooftop conversations overlooking Paris and the river , the city itself and its buildings and its streets become a character in its own right.
Colin, the intellectual who roams the streets quoting poetry while trying to unravel correspondence pertaining to The Thirteen is my favourite character; Michael Lonsdale is another.
But, is there really anything to The Thirteen, or is this just their search for some purpose (unravelling this mystery) in their meandering day-to-day lives, and to take their minds off the fact that the plays they are rehearsing will most likely never see the light of day?
It is almost of no matter, just dive into the characters' lives for the duration of its thirteen hours run.
This is not plot- or character-driven, it is process- driven. The process of filmmaking,
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