Alain Cavalier

  • Alain Cavalier – Libera me (1993)

    1991-2000Alain CavalierArthouseFrancePolitics

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    the AMG clerk wrote :

    “Exploring a dystopian future which has parallels to those found in Brazil, Fahrenheit 451, and 1984, this film, tells of a place where a military junta has taken control and requires people to think, speak, and act in precise ways: anyone who fails to do so is killed. The story is told entirely without the use of spoken dialogue. Symbolic imagery replaces much of what would have been spoken in a narrative, establishing the situation and setting. In the story, two brothers are part of an underground organization opposed to the totalitarian regime. Members of the underground identify themselves using pieces of torn photographs. Reviewers found that the story is told intelligibly and quite swiftly, despite the absence of dialog, but is not quite lively enough to satisfy action buffs.”Read More »

  • Alain Cavalier – Le paradis (2014)

    2011-2020Alain CavalierArthouseExperimentalFrance

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    The experience of living through two periods of depression and the quiet expectation of a third has endowed a filmmaker with the capacity to perceive the true beauty of life and to capture it on film. He films everything he sees, without favour and without preference, providing it awakens within him a feeling of love. His only worry is that he feels he may have lost some part of that essential quality of his art: innocence…Read More »

  • Alain Cavalier – Thérèse (1986)

    1981-1990Alain CavalierArthouseFrance

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    Review from the New York Times website, by Vincent Canby :
    “Thérèse”, Alain Cavalier’s cool, unsentimental, astonishingly handsome consideration of the life of St. Therese of Lisieux (1873-1897), is a far cry from “The Song of Bernadette.” Here are no heavenly choirs, no visions bathed in celestial light, no skeptics suddenly transformed into believers by miraculous, not otherwise explicable phenomena. Instead, “Thérèse” is resolutely objective. It examines the religious faith and exaltation of Thérèse Martin, later to be known as the Little Flower of Jesus, in the pragmatic way with which she herself seems to have accepted the experience of her conversion. As played – radiantly and with a good deal of humor – by Catherine Mouchet, Thérèse remains a mystery not to be analyzed but to be accepted as a fact of church history.Read More »

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