L'Amour fou

After the first five minutes I was watching just to see how this movie could possibly be four hours and 15 minutes. Whoo Boy! This sure took a slice out of my life.

After the first five minutes I was watching just to see how this movie could possibly be four hours and 15 minutes. Whoo Boy! This sure took a slice out of my life.

A four hour autopsy of love and cinema, where performance and reality bleed together until you can’t tell if you’re watching a breakup, a rehearsal or cinema itself collapsing. Still messy, indulgent and exhausting, I know that’s the point but it’s a boring one.

A four hour autopsy of love and cinema, where performance and reality bleed together until you can’t tell if you’re watching a breakup, a rehearsal or cinema itself collapsing. Still messy, indulgent and exhausting, I know that’s the point but it’s a boring one.

así fue mi primer relación

así fue mi primer relación

A film with one of the most boundary pushing story structures in film history.

I often go back-and-forth whether I think Michael, Snow, or Jacques Revette is my favorite director. One is the ultimate examination of the camera. The other is the ultimate examination of story structure. 

Regardless, of which one comes out on top Both analyze philosophies the foundational elements that make up cinema. 

Revette’s goal is not to create a good story (though he succeeds in that area with flying colors) it is to ask what is story? What is its nature? How does it function?

Even now the ideas, Rivette poses here have still yet to be fully unlocked. The language of cinema still has room to grow.

It’s truly astonishing that this was just the preamble to what would be the even larger monolith and his true Magnum opus Out 1.

Revette solos your fave

A film with one of the most boundary pushing story structures in film history.

I often go back-and-forth whether I think Michael, Snow, or Jacques Revette is my favorite director. One is the ultimate examination of the camera. The other is the ultimate examination of story structure. 

Regardless, of which one comes out on top Both analyze philosophies the foundational elements that make up cinema. 

Revette’s goal is not to create a good story (though he succeeds in that area with flying colors) it is to ask what is story? What is its nature? How does it function?

Even now the ideas, Rivette poses here have still yet to be fully unlocked. The language of cinema still has room to grow.

It’s truly astonishing that this was just the preamble to what would be the even larger monolith and his true Magnum opus Out 1.

Revette solos your fave

Aquele que ama intensamente se eleva para uma realidade onde só existe o casal, e ambos são suficientes um para o outro.

Quando a paixão se extingue, no entanto, tem-se vácuo, e a mais cruel solidão. 

Os amantes só voltam a se encontrar em um momento de loucura, de insanidade destrutiva, mas logo a solidão retorna.

Claire é uma personagem incrível, intensa no amor e na melancolia e lúcida em sua loucura.

O amor é insano. Na alegria ou na tristeza.

Aquele que ama intensamente se eleva para uma realidade onde só existe o casal, e ambos são suficientes um para o outro.

Quando a paixão se extingue, no entanto, tem-se vácuo, e a mais cruel solidão. 

Os amantes só voltam a se encontrar em um momento de loucura, de insanidade destrutiva, mas logo a solidão retorna.

Claire é uma personagem incrível, intensa no amor e na melancolia e lúcida em sua loucura.

O amor é insano. Na alegria ou na tristeza.