Spanish director José Luis Guerín is best known in the States for his pseudo-fictional love letter to women-watching In the City of Sylvia, but in fact is a prolific documentary filmmaker and has brought with him to Locarno the lovely and elegant pseudo-documentary L’Accademia delle Muse. Playful and clever as ever, Guerín has collaborated with Professor Raffaele Pinto and several actresses, perhaps students, to stage a false course in philology. The class, populated almost entirely by women, discusses the nature, influence and meaning of muses in poetry, and what starts as seemingly a documentary on this classroom, its teacher and a few select students, subtly evolves into a drama of words and unseen actions.The issues at stake as discourse in the class—what desire means, if it has to be sexual, the difference between a woman and a muse, how a lover influences the beloved and vice versa...
- 8/10/2015
- by Daniel Kasman
- MUBI
Photo: Alix Cléo Roubaud, Portrait de Jean Eustache, 1981 © Fonds Alix Cléo Roubaud
An interview with Jean Eustache conducted by Philippe Haudiquet and originally published in La Revue du Cinéma, no. 250, May 1971. Translation by Ted Fendt.
Philippe Haudiquet: You’ve made four films that to me seemed to indicate a personal path in our cinema. Now, you want to do something completely different. Where does this break between the films you directed before and the last one come from?
Jean Eustache: I decided to break with the films that I was making because they were suffocating me.
Ph: Why were they suffocating you? Wasn’t it a kind of cinema that had already broken away from the system, as much in terms of how it was made (production and direction) as by its choice of subject matter?
Je: Yeah, but as I was working more in an artisanal manner,...
An interview with Jean Eustache conducted by Philippe Haudiquet and originally published in La Revue du Cinéma, no. 250, May 1971. Translation by Ted Fendt.
Philippe Haudiquet: You’ve made four films that to me seemed to indicate a personal path in our cinema. Now, you want to do something completely different. Where does this break between the films you directed before and the last one come from?
Jean Eustache: I decided to break with the films that I was making because they were suffocating me.
Ph: Why were they suffocating you? Wasn’t it a kind of cinema that had already broken away from the system, as much in terms of how it was made (production and direction) as by its choice of subject matter?
Je: Yeah, but as I was working more in an artisanal manner,...
- 9/24/2012
- MUBI
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