A personal portrait of the American actress Jean Seberg.
A personal portrait of the American actress Jean Seberg.
Strip away the mysterious synopses - a "biography of Jean Seberg, loosely based on Nietzsche's the Antichrist," one is a performer in the film, the other has nothing to do with this movie. An intensely private work, so much so that I cannot imagine watching it with an audience - when Seberg stares into the lens, I feel an intense private dialogue. But the most surprising thing - there was once a narrative here! There are characters - in fact the first third of the film feels almost like a test-run for L'Enfant Secret. But still one senses a film which was wholly created as it was shot - yet as the work progressed perhaps Garrel realized more interesting than…
Felt immensely like Anna Karina watching Joan of Arc in how the rest of the audience sort of disappears and Seberg feels like she's only there for you. Garrel, with silence, limits the actress by removing her ability to pretend -- and though she tries to rebel through body language, her emotions betray her performance and feel so tormentingly real. Oddly relaxing, or is it that certain moments feel oddly climactic. Remove the context, and what remains is still of depressing -- the loneliness and pain is so universal.
Let me sleep, let me leave this mad place. Let my soul to be gone.
"When director Philippe Garrel showed the edited film to Jean Seberg, before adding music, she said she would be happy if it stayed as it was. So it did."
A wise decision, because Garrel's use of stares and reflections throughout just show us that there is no such thing as an accurate autobiography. We all represent internal worlds, and "the eyes are the windows to our souls". Seberg's approval is the evidence of her understanding of these complex statements, and then some more, which will be left to the open-minded audiences to interpret.
I won't say the auteur emperor has no clothes, but I will say Phillipe Garrel is parading around (behind the camera) in a transparent jockstrap. And please revoke the notion that this film has anything to do with Nietzsche's Anti-Christ (1893) unless you're willing to say the same for Francis The Talking Mule (1950). Les Hautes Solitudes is of interest formally, but falls into pettifoggery when discussed as anything cogent, congruous or concerned with an audience. Although at times chilling, during those 4th wall abandoning scenes, or within a dramatic close-up of spoken dialogue projected M.O.S; still, she isn't reacting with the gaze of we witnesses, but merely following orders and looking at her task-master--and therein lies a problem, there…
people don't need to sleep, people need to watch Jean Seberg sleeping!
The pleasure is in the silence(s).
enjoy the beauty of the silence.
love how it feels like there was a narrative/characters in here at the beginning but they eventually faded away, sound included, leaving all the ghostly + silent figures we see on screen. knowing what obviously happened w seberg just a few months later makes this even more upsetting to watch. i'd hesitate to call any of what is seen on screen 'acting' as the entire film feels like a genuine release of built up anxiety for seberg; those moments when she stares down the camera - laughing or crying - make you want to just reach out and help her :(
الحالة الشعورية هنا لم تكون تصويرية فقط
"The closeness of the camera, combined with intense grain, is reminiscent of Peter Hutton’s approach to black and white: you’re watching a real space being thoughtfully and deliberately abstracted into an expressive, abstract, often quite grainy black-and-white palette. There’s great drama in a woman turning suddenly away from a blown-out window and moving into the near total darkness of a room, snuffing out all light in one quick violent pan. The subject may be suffering and loneliness; there is, nonetheless, a sense of intense adoration. Even if you weren’t aware of Garrel’s tumultuous history with Nico, you’re obsessively staring at and trying to parse some very photogenic, dangerously attractive people, mostly women. You don’t need to share Garrel’s unapologetic gaze…
Screening at Metrograph.
un gran retrato, lleno de emociones muy fuertes, un retrato que involucran a quienes se encuentran cerca, sumando elementos que describen mucho mejor a quien tenemos frente a nosotros 🖤
Black and white silent film consisting of mostly close-ups Andy Warhol screen test-style of Jean Seberg and featuring Nico. It’s painfully intimate but also very engrossing. I wanted to look away from discomfort but I couldn’t.
Período under y experimental de Garrel. Pordió la belleza del rostro de Jean Seberg, y sus gestos... La mirada más triste del mundo. Sabiendo que cinco años después Jean se mataría tomando barbitúricos, las imágenes tienen otro significado, mucho más siniestro y doloroso. No me animo a ver el biopic que salió ahora xq temo que sea indigno de Seberg.
Siamo degli intrusi nel quotidiano di Jean Seberg, eppure quando guarda in camera sembra che sia lei a metterci a nudo.
Ensaios de gestos e olhares num ambiente mudo e estéril. A ausência de concretude engendra o encontro entre apelos débeis e obstáculos igualmente brochas. Uma experiência terminantemente amena, que produz nem gozo nem pavor suficientes pra mais qu um registro desinteressado. A flacidez inverte a relação do estimulo se tornando momento privilegiado, criando um anti-ruido branco cuja única promessa é a reprodução do desejo. Pouquissima recompensa - o alimento é tão escasso nessas alturas abissais que a epifase muta, a sugestão auspiciosa de um drama cotidiano invisivel troca de lugar com a representação do transcedental. Cada foton é precioso. É um flerte sem paixão, compulsório, movido tão somente pela inercia do ennui. É óbvio e sintomático que esta merda é francesa
This is the first time I'll admit to Garrel having something of an eye but jesus fucking christ this is so suffocatingly tedious
STRIPPED AWAY. RELIGIOUS ATMOSPHERE. PORTRAITS THAT REMIND OF JOAN D'ARC. WET SKIN AND DIAMONDS FLASHING. CIGARETTES EVERYHERE. THE BARE HUMAN EMOTIONS. CONFUSION. UNCERTAINTY. THE FALL OF AN ICON THAT DEFINED AN ERA. INTENSE. MOVING. PERSONAL.
JEAN OF ARC
Película experimental, silente, de uno de los directores de cine moderno francés post-nouvelle vague (que personifica hoy en día el cliché de lo que puede considerarse "cine arte francés").
Consiste en la exploración fetichista de los rostros y expresiones emotivas de las dos actrices principales, Jean Seberg y Tina Aumont, incentivando al espectador a entregarse al goce de la observación de aquello que en el cine convencional es considerado por lo menos secundario, como son los matices de la gestualidad (aquí en un primer plano narrativo, literalmente). La aproximación a estos personajes no está mediada por la historia, sino por sus actitudes frente a cámara; de ellas no conocemos su interioridad más que por sus efectos expresivos y superficies. Pero,…
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tfw when akerman, welles, varda and barley show you who's boss.