#lepontdunord

[josephfrady]

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#lepontdunord #1981 DIR #jacquesrivette CAST #pascaleogier #crime #drama #movie DP #carolinechampetier #williamlubtchansky (à Place Denfert-Rochereau) https://www.instagram.com/p/B9MOPCZo150/?igshid=10ls7v35kiq5a

[josephfrady]

#lepontdunord #1981 DIR #jacquesrivette CAST #pascaleogier #crime #drama #movie DP #carolinechampetier #williamlubtchansky (à Place Denfert-Rochereau) https://www.instagram.com/p/B9MIt9poI4J/?igshid=1h9wg0rb2zwde

[josephfrady]

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#lepontdunord #1981 #jacquesrivette #bulleogier #pascaleogier #crime #drama #quote #movie DP #carolinechampetier #williamlubtchansky (à Paris, France) https://www.instagram.com/p/BueqhDvoD8f/?utm_source=ig_tumblr_share&igshid=1rhnw1iblpk4d

[josephfrady]

#lepontdunord #1981 #jacquesrivette #bulleogier #pascaleogier #crime #drama #quote #movie DP #carolinechampetier #williamlubtchansky (à Paris, France) https://www.instagram.com/p/BueqZfGIS4I/?utm_source=ig_tumblr_share&igshid=rwav8fplqyr4

[josephfrady]

#lepontdunord #1981 #jacquesrivette #bulleogier #pascaleogier #crime #drama #quote #movie DP #carolinechampetier #williamlubtchansky (à Paris, France) https://www.instagram.com/p/Bud_DfAoLJd/?utm_source=ig_tumblr_share&igshid=16moecdfqd3kk

[josephfrady]

#lepontdunord #1981 #jacquesrivette #bulleogier #pascaleogier #crime #drama #quote #movie DP #carolinechampetier #williamlubtchansky (à Paris, France) https://www.instagram.com/p/Bud-j3eoI4G/?utm_source=ig_tumblr_share&igshid=11dw3h2tc6640

[cinesessies2]

Games People Play

Een Hong Sang-soo liefdesganzenbord  ♡  print het spel hier in hoge resolutie!

      (bron: magazine Trois Couleurs #132, juni 2015)

With Le pont du Nord, Rivette made explicit the film as game. An old-fashioned "Shoots and Ladders" [or “Snakes and Ladders”] type of board game called "Jeu de l'oie" [ganzenbord] is transposed on to a map of Paris, turning the city streets into a live action board game.

" The players move their pieces around the board according to the throw of the dice. The object of the game is to reach the center of the board. But there are dangers. Box 19, the Hotel, forces the player to wait two turns. Box 31, the Well, demands you wait for rescue by another player as in boxes 42 and 52, the Labyrinth and the Jail. Box 58 is Death and forces the player to begin the game anew. To play with Jacques Rivette, superimpose the pattern of the board on a map of your city and play with real space and people. Good luck! "

Fabrice Ziolkowski, “Le Pont du Nord,” Film Quarterly, Vol. 37, No. 2 (Winter, 1983-1984), p. 60-3.

Klik hier om het Marienbad spel te spelen!

[cinesessies2]

Een Hong Sang-soo schema van Right Now Wrong Then

“ In comparing these two parts, if I can call them parts, some elements can be well connected, and make the audience feel that they can explain the difference between the two in terms of morals and attitudes. But some elements are not meant to be like that, and the two worlds are meant to be quite independent. If one is able to offer a clear explanation about the relationship between the two parts, then that can be a pleasant thing. But that encloses everything…You know what I mean? This way we can proceed with some pleasure of making sense, but still feel that the two parts are quite independent. Not one moralistic message. Let me make a drawing…

Just look at these two circles in the drawing as two independent worlds. If you believe there’s a clear reason for these two worlds to exist, once you find a clear meaning between them, then these worlds themselves disappear. Once we make clear sense out of these two worlds, they are just used up. It happens that it’s not easy to give them a clear meaning. So all the questions are kept alive if there’s an infinite possibility of worlds. It’s like a permanent reverberation. ”

“ Imagine this rectangle is real life. I try to come as close as possible to it. How? Using details of my life, things I’ve lived, things I heard from other people I know or I just met. I always mix different sources, and it’s never about myself, but it looks like something that happened, or looks like its about me. I want it to be like that. I realized that when I was 23 and was writing a script based on a real story. I felt too tense; I couldn’t move. I needed distance. In the same way, my films are never a parallel line to reality. What I tend to do is to follow an arrow towards reality, avoiding it at the very last second. ”

Screenshot: Woman on the Beach

“...then suddenly I think it was Suzanne [Schiffman, co-screenwriter and co-director] who had the great idea: we must draw up a bogus chronology – because after all a story does unfold in time – indicating an arbitrary number of weeks and days on the vertical lines, and the names of the characters going the other way. From that moment… it was very odd but this sort of grid influenced the film a lot.” [schema in volledige resolutie]

Jacques Rivette over het bijna 13 uur durende Out 1 (1971) [Nederlandse vertaling van dit interview uit 1973]

“That’s when they suggested that I draw up a chart [le graphique] to distinguish between the present, the past and ‘indefinite time’ [tous les temps, ‘imaginaires’].”

The sheet created by script girl Sylvette Baudrot to keep track of all the different timelines in L’Année Dernière à Marienbad. When it was published in Cahiers du Cinéma (nr. 123, September 1961), Resnais asked to have it printed upside down.