Jacques Rivette’s search for Paris: Films from his films, then and now

Like many of the French new wave directors, Jacques Rivette began his career as a critic for Cahiers du Cinéma magazine. Some successful short films and later his first film in 1961, Paris Nous Appartient. Rivette’s cinema, which is long, complex and often experimental, provided large cadres of Nouvelle Vague’s most mysterious films, long run times, improvised lands and some of France’s most well -known actors.

Many of the best and most complex films are located in Paris, where adventures in the capital seem to intensify Rivette’s desire for dramatic experiments. His shots and narratives are as long as the boulevards of the city and surrounding the streets and sidewalks.

In Rivette’s hands, there is a puzzle to solve Paris. In films such as Out 1 (1971) and Le Pont Du Nord (1981), buildings and boulevards become a wide range of play boards for hidden sects, uncertain conspiracies and abstract crimes. Rivette’s cinema is usually investigating the dark, surreal and entertaining layers of the city, which is often taken completely on the ground and in unusual places.

Here are five of today’s Parisian places.

In his first feature, Rivette clarified his task expression: to show Paris as a strange, endless labyrinth. With the most powerful images of the city, Paris Nous Nous Appartient (or Paris belongs to us) exhibited Rivette’s eye to the street level for detail to Nonchalance. In one of the most famous series of the film, he has fun in the streets of the left bank in Bulvar Saint-Germain.

The scene focuses on Le Royal’s wide Brasserie, sitting on the boulevard opposite the famous Les Deux Magots. In this scene, the mother (Betty Schneider) sat at a table outside. But the scene is the most famous, to offer a camera cell from Nouvelle Vague Director Jean-Luc Godard. Today, the area is occupied by an Armani shop.

This shoot shows the opposite side of the road with the Saint-Germain-Des-Pés tower in the background.

With Rivette’s most ambitious project and absolutely the longest – almost 13 -hour working time – the episodic 1 offers many challenges to both the ordinary audience and the film location fan. The film, written and directed by Suzanne Schiffman and shot entirely around Paris and Normandy, the film is full of interesting places because the dark story of Balzacian hidden society is focused and out of it. One of the most memorable series of the film is about the character of Colin, starring Jean-Pierre Léaud.

Throughout the drama, Colin harasses people in various cafes using a harmony, constantly blowing the annoying customers until they give money to go. All of the cafes were in Champs-élysées. The first cafe was in the corner where the street met Rue de Marignan. Cafe went today, but the location can still be recognized because of the steps of the Franklin D. Roosevelt station in front.

Cafe looked at these steps beyond the open -air seating areas. The street has changed significantly, but this feature continues.

When Colin leaves this café, Rivette and cinematographer Pierre-William Glenn film wider street.

However, Colin Harassment is one of the other cafes where customers survive. This is more on the street on the street. The outer smoking area is the place where Colin is armed with reliable harmony. The smoking area is now a regular part of the restaurant, still standing next to the Longchamp store.

Rivette’s next film Céline and Julie Go Boing is a surreal, cottage experiment in fun, urban nonsense. Northern Arrrondization of Paris, especially when it is first detected by Julie (Dominique Labourier) in a park, especially in Céline (Juliet Berto), looks particularly as a pajoresque. This small green area is the square Suzanne Buisson in Montmartre.

Julie finds Céline as she dropped something as she wandered in the park. Julie takes these objects by following it to give them back.

The couple leaves Rue Simon Dereure Place Place Casadesus.

Céline sets out for a series of steps in Place Casadesus. These steps lead to a path that leads to another path.

Julie follows Céline along this fancy road, as it is, and prevents a large security screen that protects one side of a house.

Le Pont Du Nord, which includes the performances of mother and daughter Bulle and Pascale Ogier, is one of the most uncertain films of Rivette. The film, which transforms the entire Paris into a kind of game, collects an unusual series of visual references. One of the ground -based motifs is to emphasize the various lion statues of Paris. Baptiste (Pascale Ogier) rides around the city on his motorcycle, finds various examples. He first saw it at La Nation.

Rivette’s film shows the close -up of Lions in the monument, which was later shaped by Jules Dalou.

Later, he shows a little more lion in a statue in Rivette Monument à la république. This shot was taken from the Temple of Rue Du.

Shaped by Léopold Morice, Aslan is emphasized from Baptiste’s bike in the next shot from his bike. Unfortunately, the monument is currently being destroyed.

Finally, Baptiste detects lions connected to Hotel de Ville in Rue de Lobau, shaped by Auguste Cain.

After Sylvie (Sandrine Bonnaire) was killed in a family history in the history of family, Paris is particularly dark and pessimistic in this later Rivette film. A great example of different shades of this film is clear when Sylvie escapes from her apartment while looking for someone who is not there. The apartment is in Bulvar Richard-Lenoir.

Fine director William Lubtchansky barely illuminates Karamsar Boulevard at night with films and street lights. This shot is looking at the north of the road.

Another shot shows Sylvie just outside the building used for the apartment. Building number 42.

Spectrums: Jacques Rivette Cinema He’s running until June.