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Confession of a misanthropic old man

Confession of a misanthropic old man

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The new Jean-Claude Brisseau's movie, La fille de nulle part, is a touching comeback to the origins. Self-produced and performed by Brisseau himself, the film is mainly shot in the director's flat (like the amateur films of his debut) while digital technology (used for the very first time by Brisseau) takes the place of Super 8.

The film makes one think about those works shot by filmmakers who have nothing more to demonstrate but continue to feel haste to experiment. The choice of a so narrowed subject (the platonic relationship between a old professor and a socially excluded woman) and the modest means do not represent a sign of resignation, but an authentic demonstration of political and economic resistance, a real manifesto of militant cinema. Because a set reduced to the smallest and microbudget is not dilettantism, if it is in the hands of a filmmakers obsessed by style and form.

Direction is the essence of Brisseau work, and La fille de nulle part is a true lesson of cinema. On the one hand we find all the mystical and moral concerns of the author, with new incursions into paranormal and spiritism; on the other hand  La fille de nulle part is enriched by an emotive dimension which make it something different from a simple theoretical treatise.

With this portrait of a misanthropic and realist old man, Brisseau gives us a strange intimate confession sacrificing for the first time autobiography without renouncing to passion for fictional.

Olivier Père

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