Jean-Pierre Bouyxou
1946 (78 лет)
Les vamps fantastiques
Jean-Pierre Bouyxou, Jean-Yves Bochet
Nicole Caligaris, Catherine Binet
Ever since the goddesses, gorgons and other sirens of ancient mythology, the strangest creatures, sometimes charming, sometimes terrifying, have continued to haunt our imagination. This documentary shows the disturbing fascination they exert on both filmmakers and the public and rehabilitates an underappreciated continent: the great female icons of horror and wonder in cinema.
Les vamps fantastiques
Chromo sud
Étienne O'Leary
Anne-Marie, Michel Auder
One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club
Chromo sud
Jean Rollin, le rêveur égaré
Damien Dupont, Yvan Pierre-Kaiser
Jean Rollin, Jean-Pierre Bouyxou
Who is Jean Rollin? A man who has spent his childhood in the middle of some of the greatest intellectuals of the twentieth century. An artist who has worked with Maguerite Duras for his first film. A director's career singular and unique in French cinema, with films overtly fantastic, surreal, poetic - disconcerting. A filmmaker has always murdered by the critics but starting, finally, to enjoy some recognition in France, while many fans worship him already in Europe and the United States. Jean Rollin signs a marginal and unknown work marked by death and nostalgia, and whose main obsession is the time, that of the wandering and dreams. Jean Rollin died in December 2010 at the age of 72. This documentary is the portrait of a real artist, the last surrealist, a poet who created his very own dreamworld. A tribute for a unique director, with testimonials from his closest collaborators.
Jean Rollin: The Stray Dreamer
Satan Bouche un Coin
Jean-Pierre Bouyxou, Raphaël Marongiu
Pierre Molinier, Janine Delannoy
The film is a series of images, shown in short takes (anywhere from a few frames to 30 seconds), of more or less fetishistic imagery (something Bouyxou was particularly fond of). After a credit and title sequence written on naked human flesh, the viewer sees the brilliant Molinier standing sanctimoniously in front of a screen. Soon he is joined by a woman, and he fondles her breasts while retaining his signature grin. Molinier seems to almost be the 'ringmaster' of the incidents, with almost every minute episode cutting back to him. His presence is one thing that makes this film remarkable; the same sort of aura that exists in Moliniers famous self-portraits and cut-ups is present here, on screen. (esotika.blogspot.com)
Satan Bouche un Coin
La fée sanguinaire
Roland Lethem
To Katinaki, Pierre Lampe
Two mysterious men dressed in black and with cigarettes dangling from their mouths drop a large, presumably heavy (since it takes two to carry it) package off on a doorstep and walk away. When the home’s owner returns he drags the package inside, then goes about doing a few more activities before deciding to finally open it. Upon removing the paper, he notices it’s a large steel barrel. Using a blowtorch, he gets the lid off and sees it’s full of oily water… but rising out of the water is a nude, voluptuous, smiling woman, who immediately starts to entice the man by massaging her breasts. Naturally, being in a barrel for who knows how long, she needs to get cleaned off and hops into a bubble bath. While she’s lounging in the tub, the man gets into bed, lights a cigarette and starts to remove him clothes in anticipation. We get to see fantasies from both the man and “the fairy.” —The Bloody Pit of Horror
The Bloodthirsty Fairy
La tête froide
Patrick Hella
Christian Chaix, To Katinaki
Shots of a car speeding down the road are intercut with kinky sex flashes (a woman with a whip rides a guy, for instance). Then the car crashes into a tree, the male driver (Christian Chaix) is decapitated and the bloody, injured female (Marie-Paule Mailleux) scoops up his head and returns to her home. There, she cleans herself and the head off, prepares dinner for herself and the head, buys the head a Ken Doll to keep it company, puts the head on a mannequin's body and then has a series of strange hallucinations, which include having sex with her bloodied lover, dancing in a room by herself with a spotlight, etc. Things culminate in her having sex with the head and then throwing it into the trash bin.
Cold Head