One of the great witnesses to intimacy and cruelty, filmmaker Maurice Pialat (1925-2003) systematically obliterated all benevolent sentiment from his work – whether he was addressing the life of the couple (‘Nous ne vieillirons pas ensemble’, ‘Loulou’), illness (‘La Guele Ouverte’) or family structure (‘A nos amours’). Often autobiographical but never complacent, Pialat’s cinema is in focus at this restrospective at the Cinémathèque Française until 4 March. Along with the screenings (in French without subtitles), the Cinémathèque is also showing 40 or so of the director’s drawings and paintings, the evidence of the earlier part of his artistic life (1942-1946): still lifes, portraits, landscapes, seascapes and urban scenes, plus archives including notes, annotated scripts, unfilmed projects, documents, correspondence, photos and posters.
Pialat, peintre et cinéaste
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