Acteurs·trices:
Barbet Schroeder, Stéphane Audran, Claude Chabrol, Joanna Shimkus, Jean Douchet, Micheline Dax, Claude Melki, Serge Davri, Jean-Michel Rouzière (plus)Résumés(1)
Un jeune producteur Barbet Schroeder a eu l'idée de confier une caméra 16mm, de la pellicule couleur et un quartier de la capitale à six cinéastes de ses amis en leur demandant un court-métrage. Simplicité originelle, désinvolture du tournage rapide, improvisation de l'instant, authenticité du son direct, affranchissement de toutes les contraintes techniques et économiques, telle est cette expérience cautionnée par Godard, Rohmer, Chabrol. (Les Films du Losange)
(plus)Critiques (1)
The gentlemen capture the genius loci of the capital of the Nouvelle Vague without the idyll of Paris, je t'aime, and seemingly just incidentally. It is similar to the way that someone perceives their surroundings when pursuing a particular goal. The longer-term goals of the individual stories’ characters are neither clear nor important. What’s important is the laconic point, which repeatedly brings to mind the endings of films by Eric Rohmer, whose contribution to Six in Paris paradoxically struck me as being the least Rohmer-esque (again dealing with moral responsibility, but with the protagonist being a bit taller and less clumsy, I would think this is secretly a Jacques Tati film). Most of the stories are based on antagonism: man and woman, experience and immaturity, foreign and local, noise and silence. The incompatibility of the opposites ends with a sudden change of the situation. We have to figure out for ourselves what will happen afterwards. The most easily recognised creative signatures are those of Chabrol (caustic ridiculing of the bourgeoisie), Rouch (the reactions of a quarrelling couple observed with the patience of an anthropologist) and Godard (rotating camera). Taken as a whole, Six in Paris is quite well balanced, but it doesn’t contain a segment bold enough to make me want to see it again. 75%
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Photos (12)
Photo © Les Films du Losange
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