Igor Luther worked on the fragmentary essay titled Self-Portrait where he looks back on his own fruitful professional career and turbulent private life. Slovak producer and director Ivan Ostrochovský, who revealed his latest fiction feature Servants at this year's Berlinale, is continuing in his producing efforts. After co-producing the experimental docu-pic Frem and Petr Zelenka’s dramedy Droneman (read the news), one of the projects he is currently working on as a producer is a documentary with the working title Self-Portrait, centred on the most acclaimed Slovak cinematographer, Igor Luther, who passed away at the beginning of June 2020. Luther commands a glowing filmography, having lensed Juraj Jakubisko’s The Years of Christ and Birdies, Orphans and Fools, Alain Robbe-Grillet’s The Man Who Lies and Eden and Afterwards and serving as DoP on films by Michael Haneke, Wolfgang Staudte, Andrzej Wajda, Aleksandar Petrović and a fruitful collaboration with Volker Schlöndorff with whom.
It didn't take long for Alain Robbe-Grillet to plunge into directing, after the success of his literary career (as doyen of the nouvelle roman) and his screenplay for Last Year at Marienbad. And it didn't take long after L'immortelle, his 1963 debut, for him to plunge into porn. Trans-Europ Express (1966) was banned in Britain, its scenes of s&m kink far too extreme for Anglo sensibilities at the time. We were still reeling from Jane Birkin's pubes. We weren't ready for chains and rape fantasies. Still aren't, probably.1968's The Man Who Lies again stars Jean-Louis Trintignant, but seems a step back from the extremes of the previous flick. There's little nudity, little sex. But the whole film is redolent of a ritualized, fetishized, sublimated sex, played out in non-sexual arenas.The film also has a lot in common with Marienbad, since it plays a constant game of "what is truth?...
- 7/23/2015
- by David Cairns
- MUBI
Redemption Films revives several more titles in its continuing resurgence of Alain Robbe-Grillet with his 1968 film, The Man Who Lies. Starring the director’s preferred leading man, Jean-Louis Trintignant, it’s an interesting exercise that seems perfectly calibrated for Robbe-Grillet’s style of filmmaking, that of the fractured, elliptical narrative. Here, we follow a protagonist who makes up his story as he goes along, which feels not unlike how Robbe-Grillet writes his narratives, where a series of accidental strands may or may not work together to create a discernible tale.
While running from a band of soldiers in hot pursuit, Boris (Jean-Louis Trintignant) stumbles into a small European town and ingratiates himself upon the community by claiming to be the friend of one of their missing citizens named Jean Robin. Arriving at Robin’s castle, he seduces his maid, his sister, and his wife, each telling them some fabricated tale about his associations with Robin.
While running from a band of soldiers in hot pursuit, Boris (Jean-Louis Trintignant) stumbles into a small European town and ingratiates himself upon the community by claiming to be the friend of one of their missing citizens named Jean Robin. Arriving at Robin’s castle, he seduces his maid, his sister, and his wife, each telling them some fabricated tale about his associations with Robin.
- 6/3/2014
- by Nicholas Bell
- IONCINEMA.com
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