Tag Archives: Maurice Garrel

Philippe Garrel – Liberté, la nuit (1983)

a title with a comma in the middle for a film divided in two parts. A film in black and white with a dark side and a jovial side. The first part of the title evokes politics, as the story recalls the days of the Algerian War of Independence; the second part represents the mood that hovers over the eminently painful images. There isn’t even a hint of daylight in the freedom of the title. It only lives metaphorically in the darkness and languor of the night. — description by Violeta Kovacsics in the book “Philippe Garrel: Filmmaking Revealed” Read More »

Philippe Garrel – Un Ange Passe (1975)

Un Ange Passe is a portrait of Philippe Garrel’s father, Maurice. “I made it so it didn’t cost too much. I made it very quickly. It turned out to be a film that looked exactly like it costs — it was industrially just right. But it was also useful to do to show love to my father.” —Philippe Garrel Read More »

Philippe Garrel – Le Coeur fantome AKA The Phantom Heart (1996)


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A hangdog, middle-aged painter falls in love with a tender young college student after he leaves his philandering wife and his children in this romantic French drama. To console himself, the fundamentally bohemian Phillippe finds comfort in the arms of various prostitutes, especially Valeria. It is while searching for her that he meets lovely Justine, the student. Sparks fly and they move into together. Things go well until Phillippe begins pining for his children. This makes insecure Justine terribly jealous and tumult erupts until the aging artist is able to discover the true source of his anxieties. Read More »

Philippe Garrel – Liberté, la nuit (1984) (HD)

‘Liberte, la nuit’ is not really a political film, or, at least, a film about politics. Its central figures are an aging revolutionary helping Algerians in the anti-colonial war against France, his separated wife, a dressmaker who gives them guns, and his mistress, a French Algerian emigree. Such a set-up might offer opportunities for allegory – white Algeria returning to the aging bosom of the fatherland, and all that. The film’s most dynamic sequence is pure political thriller, an assassination by the OAS, confusingly shot and edited on grainy stock that evokes both documentary immediacy and the whirring of a surveillance camera, complete with exciting car chase. The human relationships – especially the drawn-out separation of Jean and Mouche, are said to be caused by his political activity, while his contact with others has some basis in his ‘work’. Even, as I say, his final escape with an apolitical menial has political overtones; and their idyll is ultimately no escape from history. Read More »