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Mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira
Isolina Ballesteros

– ‘If only I had made peace with him’; ‘I failed him in the end –’ and yet she is unable to shed tears, which would offer relief and would prove that she is ‘reconciled with the irreversibility of time’ (Moretti, 1983 : 180). Clara, on the other hand, is a melancholic who displays sadness before the actual physical loss of David due to her status as a rejected daughter after her mother’s death and her

in Hispanic and Lusophone women filmmakers
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Bill Marshall

-Pierre Kalfon, as well as Michèle Moretti, with whom Téchiné was to have a long professional relation4 Rereleased in 2004. Marc’O, born in 1927 as Marc-Gilbert Guillaumin, has from the 1990s to the present been artistic director of the radical theatre group Génération Chaos and their magazine Les Périphériques vous parlent. His other films include the avant-garde 60 Minutes de la vie intérieure d’un homme/Closed Vision, presented at the 1954 Cannes Film Festival by Jean Cocteau. emergence 5 ship). André Téchiné was assistant director on this film, which was edited by Jean

in André Téchiné
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Bill Marshall

filigrane’ (‘a film we could call Marxist, in minor mode or implic- 46 andré téchiné itly’) (Jousse 1991). The model here is of course Balzac, for long held in high regard by Marxist critics for his dissection of the emerging early nineteenth-century capitalist world in the novels of the comédie humaine, and beyond that the tradition of the Bildungsroman, or novel of education. Unlike the stable communities of the traditional past, modernity requires ‘an uncertain exploration of social space’ (Moretti 1987: 4) through narratives of mobility, unexpected hopes

in André Téchiné
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Bill Marshall

et Martin, Les Egarés) and especially Michèle Moretti, whose collaboration with Téchiné goes as far back as Marc’O’s theatre group in the 1960s (Paulina s’en va, Souvenirs d’en France, Rendez-vous, J’embrasse pas, Ma Saison préférée, Les Roseaux sauvages). Téchiné always writes his own screenplays, but always in collaboration with at least one other. He has worked regularly with two former Cahiers critics who are now film directors: Pascal Bonitzer (Les Sœurs Brontë, Le Lieu du crime, Les Innocents, Ma Saison préférée, Les Temps qui changent), who has also done

in André Téchiné
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Philippe Garrel, an irregular auteur
Michael Leonard

, and between film-making and resistance. Critical contexts Although reference will be made throughout this study to the various scholarly and popular critical sources that discuss Garrel’s work, it is instructive at this point to review some of the key publications that have engaged with specific films, periods or tendencies within Garrel’s career. In comparison with other film-makers of a similar generation and output (for example, Chantal Akerman, Wim Wenders or Nanni Moretti), writing on Garrel’s cinema remains limited and fragmentary. Critical responses to

in Philippe Garrel
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Rupture and transmission
Julia Dobson

, writing and acting locate her firmly within her generation of French filmmakers, wider comparisons with the profiles of a wider range of contemporary directors of accessible and self-reflexive tragicomedies including Nanni Moretti and Pedro Almodóvar are justified. Her films address the fragile construction of personal and social identities through the singular combination of multilayered intertextual

in Negotiating the auteur
Bill Marshall

Bouchez), the daughter of Communist schoolteacher Mme Alvarez (Michèle Moretti) has a non-sexual friendship with François (Gaël Morel), who lives for literature and cinema and who has a one-night branlette/wank with fellow-boarder and peasant son Serge (Stéphane Rideau). It is the Algerian war which acts as catalyst for the transformations that follow. Serge’s brother Pierre (Eric Kreikenmayer), who had asked Mme Alvarez to help him desert, is killed there by the OAS. An older student, Henri (Frédéric Gorny), is a repatriated and families and sexualities 87

in André Téchiné
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Narrative, conspiracy, community
Douglas Morrey and Alison Smith

borrowing from Balzac) glimpsed through the character Renaud (Alain Libolt), there are a number of other groups and alternative communities dispersed across Out 1 . Most prominent are the experimental theatre troupes led by Thomas (Michael Lonsdale) and Lili (Michèle Moretti), two members of the Thirteen, whose exercises and rehearsals take up much of the screen time of Out 1 , particularly during its

in Jacques Rivette
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Games and play
Douglas Morrey and Alison Smith

. In Out 1 , however, all the connotations of jeu , without exception, do seem to come together for the first time. In its original conception, the film had scarcely any preconceived limits; the narrative thread was of the thinnest, and largely imported by the different actors, some (Michel Lonsdale, Michèle Moretti) to continue work already begun in other contexts. Some came with a character prepared, some (Jean

in Jacques Rivette
Bodies, love and jealousy
Douglas Morrey and Alison Smith

to anyone else – about what is really going on in his life, incapable even, as Michèle (Michèle Moretti) remarks, of externalising his feelings in the play. His mute impotence is most memorably demonstrated in the scene in which, as Claire suggests they need to spend some time apart, Sébastien takes a razor blade and begins slicing and slashing at his clothes. The extraordinary, hyperrealist soundtrack of L’Amour fou

in Jacques Rivette