elements from both these ﬁlms. It was written
– with Cahiers critic and ﬁlmmaker OlivierAssayas – and shot in the
space of a few weeks, in a febrile atmosphere with Téchiné under great
professional pressure despite the support of producer Alain Terzian.
Martine Giordano’s crisp editing adds to the breakneck pace of its 82
minutes. The ﬁlm occupies a problematic place in his œuvre in terms
both of its very divided critical reception4 and what periodisation
might make sense for assessing this auteur. It opens elliptically, with
the view from a train arriving at the
Branch Press , 2001 ) 402–3 .
29 This conception will be called into question by the film Munich (USA, 2005), directed by Steven Spielberg, which challenges the legitimacy of the means used to fight Palestinian terrorism. See Yosefa Loshitzky , ‘The Post-Holocaust Jew in the Age of the “War on Terror”: Steven Spielberg’s Munich ’ ( 2011 ) 40 : 2 Journal of Palestine Studies 77–87 .
30 See, however: The Siege (Edward Zwyck, USA, 1996); The Body (Jonas Mccord, USA, 2001); Mogadiscio (Roland Suso Richter, Germany, 2009); Carlos (Olivier
’artefact’ (Bergala 1983 : 8). 10
The same number of Cahiers du cinéma carried an
article by the filmmaker OlivierAssayas on advertising. While recognising
something which Beineix has always said, that advertising had recognised the
potential of new technologies and had pushed research into visual style
forwards, and while being prepared to admire the way in which a filmmaker
such as Ridley Scott had used advertising techniques but put
boys and girls of their age ) commissioned for the French
national arts channel La Sept/ARTE. Nine directors of different age groups,
including, amongst others, Claire Denis, André Téchiné and
OlivierAssayas, were invited to film an autobiographically inspired tale of
adolescence set against the backdrop of their own teens. Based on personal
memories, the series was thus designed to reflect the spirit, atmosphere and
tormented by the horrifying nature of his or her desires.
The work was first envisaged as part of a series of short
films commissioned by an American producer, then as a trilogy of
supernatural stories taking place in a hotel, with Atom Egoyan and OlivierAssayas 38
as co-directors (Frodon 2001 ).
From the start, Denis drew inspiration from Gothic literature, and the short
stories of nineteenth
context too, since, as Daney said, he has a ‘chose rare, un don pour la
poésie’ (‘that rare thing, a gift for poetry’), while more recently OlivierAssayas declares: ‘He’s a true poet ... he has visions’ (Assayas 2000 ).
A tale told by a fool
Le monde est constitué de forces
qui agissent les unes sur les autres, mais ces forces ne sont pas
réductibles à des