Day 6 at the festival
The Preminger retrospective continues with success, and a friendly message from a French-Swiss filmmaker comes back to mind: "If they had to film the sea waves breaking on the shore, Preminger or Bresson, unlike Hawks or Dreyer, would choose the moment when the waves fall, not when they soar, and would prefer the high tide to the low tide. Filmmakers of today, in fact, find it more appealing to portay their heroes when they are about to do something, instead of when they are doing it. "
This quotation comes from an important text by Jean-Luc Godard, Du côté de chez Manet («Arts» n° 571, June 6th 1956). In this theoretical article on modernity in the arts, the future filmmaker inserts cinema within an history that brings together music, painting and literature, and anticipates what will be later conceptualized by Gilles Deleuze as the crisis of the image-action.
Preminger is now considered a classic filmmaker, but for Godard at the end of the Fifties, he was a modern artist, just like Faulkner or Nicholas Ray.
Preminger's films played an important role in the work of the young Godard, particularly À bout de souffle or Le Mépris. And today Jean-Luc Godard, a tireless thinker and film worker, shoots in 3D: a magnificent short film, Les trois désastres, seventeen minutes produced by the city of Guimarães, European capital of culture, (culture, history and Europe, three themes that always haunted the cinema of Godard) and Adieu au langage, due next year.Olivier Père