Anne-Marie Miéville
1945 (78 лет)Since then, she has continued to make films. Through her cinematographic stories, she questions, with a singularity of tone, love, time, the meaning of things, ... Her first feature film is called: "My Dear Subject" and was released in 19883. 1994 "Lou Didn't Say No".
Still in 1994, Anne-Marie Miéville published "Histoire Du Garçon", a text retracing the career and life of her brother Alain, who died accidentally in 1993. In 1996/1997, a new feature film was broadcast, "Nous Sommes Tous Encore Here". Then in 2000, "Après La Réconciliation" in which she appeared, accompanied by Claude Perron, Jacques Spiesser, Jean-Luc Godard and Xavier Marchand.
In 2002, she wrote "Images In Words", short texts published by Farrago, which the publisher wrote were "a series of fixed shots, short films of writing. Strictly speaking, it is not a question of news, but rather of indescribable moments, fleeting perfumes of images, where it would be a question of filming with words”.
France/Tour/Detour/Deux/Enfants
Anne-Marie Miéville, Jean-Luc Godard
Jean-Luc Godard
In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.
France/Tour/Detour/Deux/Enfants
Histoire(s) du cinéma
Jean-Luc Godard
Jean-Luc Godard, Julie Delpy
Daunting, provocative, and very beautiful, this meditative essay looks at the history of the 20th century through cinema and vice versa, mainly through a rich assortment of clips (sometimes superimposing more than one), sound tracks (sometimes paired with visuals from other films), poetic commentary (with plenty of metaphors), and captions.
Histoire(s) du cinéma
Six fois deux/Sur et sous la communication
Anne-Marie Miéville, Jean-Luc Godard
Jean-Luc Godard, Anne-Marie Miéville
The title and subtitle of this French miniseries are “Six Times Two; Over and under the media”. The “six” refers to the fact that there are six episodes; the “two” has a double meaning.
Six fois deux/Sur et sous la communication
Nous sommes tous encore ici
Anne-Marie Miéville
Aurore Clément, Bernadette Lafont
Two housewives discuss philosophical themes (actually an updated dialogue between Plato and Socrates) while doing the house work. The husband of one of them rehearses his part in a theatrical play, reading a 20th century philosophical text about totalitarianism.
We're All Still Here
Ici et ailleurs
Anne-Marie Miéville, Jean-Pierre Gorin
Jean-Luc Godard, Anne-Marie Miéville
"Here is a family of average French people in front of their television. Elsewhere, they are Palestinian fighters filmed before the massacres of Black September." (JLG, 1976). "We came here to study this: to learn, to learn lessons, if possible to record these lessons, to then broadcast them here, or elsewhere in the world. Almost a year ago, two of us came to investigate the Democratic Front. Then another went to Fath. We read the texts and programs. As French Maoists, we decided to make the film with Fath whose title is Until Victory. We let the Palestinians , during the film, themselves say the word: "Revolution". But the true title of the film is Methods of Thought and Work of the Palestinian Liberation Movement." (JLG, Manifesto, July 1970)
Here and Elsewhere
Le livre de Marie
Anne-Marie Miéville
Aurore Clément, Bruno Cremer
Anne-Marie Miéville, frequent collaborator of Jean-Luc Godard, made this partner piece to Godard's own 'Je vous salue, Marie'. Marie, eleven years old, is experiencing difficult times. Her parents will separate. The perception of her universe is profoundly disturbed. This exacting portrait of a child immersed in her books, music and dancing casts a dispassionate yet touching eye on the girl's reaction to the new upheaval in her life.
The Book of Mary
Scénario du film Passion
Jean-Luc Godard
Jean-Luc Godard, Anne-Marie Miéville
Godard constructs a lyrical study of the cinematic and creative process by deconstructing the story of his 1982 film Passion. “I didn’t want to write the script,” he states, “I wanted to see it.” Positioning himself in a video editing suite in front of a white film screen that evokes for him the “famous blank page of Mallarmé,” Godard uses video as a sketchbook with which to reconceive the film. The result is a philosophical, often humorous rumination on the desire and labor that inform the conceptual and image making process of the cinema.
Scénario du film Passion
Mon cher sujet
Anne-Marie Miéville
Gaëlle Le Roi, Anny Romand
From birth to death every subject remains intact. Three ages, three women. Daughter, mother, grandmother. Each of them before and after still and always. And the men too, those they meet those they love.
My Dear Subject
Deux fois cinquante ans de cinéma français
Anne-Marie Miéville, Jean-Luc Godard
Michel Piccoli, Jean-Luc Godard
At a lakeside hotel, Michel Piccoli discusses the centennial of cinema with Jean-Luc Godard. Godard asks why should cinema's birthday be celebrated when the history of film is a forgotten subject. Through the remainder of his hotel stay, Piccoli tests Godard's hypothesis.
2 x 50 Years of French Cinema
Liberté et Patrie
Anne-Marie Miéville, Jean-Luc Godard
Jean-Pierre Gos, Geneviève Pasquier
The title of this twenty-minute video by Jean-Luc Godard and Anne-Marie Miéville, “Freedom and Fatherland,” is the official slogan of the Canton de Vaud, in Switzerland, where the filmmakers live and grew up. To fulfill their commission from a Swiss cultural festival, they adapted a great Swiss novel, “Aimé Pache, Painter from the Vaud,” by Charles Ferdinand Ramuz, from 1911 (about a local artist who goes to Paris for his education and then returns home) and extruded its autobiographical analogies to Godard’s own life and work. Using a choice set of clips from Godard’s films to coincide with events from the painter’s life, verbal references to modern times and to Godard’s own—Sartre, the late nineteen-sixties, the cinema—and images of the Swiss terrain, which plays a decisive role in the work of Pache, Godard, and Miéville (an important filmmaker in her own right), they produce the effect of mirrors within mirrors.
Liberty and Homeland
Le Rapport Darty
Anne-Marie Miéville, Jean-Luc Godard
Anne-Marie Miéville, Jean-Luc Godard
A daring deconstruction of consumerist behavior featuring a robot and Miss Clio Darty, with a voiceover by Godard and Anne-Marie Miéville, this philosophical "report," like so many of Godard's commissions, was rejected by its funders.
Le Rapport Darty
