Jean-Claude Brisseau

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Stanley Kubrick envisioned Eyes Wide Shut as an Odyssean chronicle of marital drift. After a series of absurd encounters with the unseemly, naughty bourgeois and the diseased rejects that pander to their ludicrous peccadilloes, Tom Cruise’s wandering soul gets the hint: don’t stray! Jean-Claude Brisseau’s subversive Secret Things is nowhere near as structurally rigorous as Kubrick’s swan song, but it certainly feels more daring. First, think Celine and Julie Go Masturbating. On what appears to be a lonely stage, the sexy Nathalie (Coralie Revel) begins to pleasure herself. Then the delirious swell of an opera piece, perfectly timed to the movement of Brisseau’s camera, which pans to the right to reveal a roomful of bar patrons, including innocent barmaid Sandrine (Sabrina Seyvecou), ogling the spectacle of Nathalie’s uninhibited libido. Read More »

IMDB wrote:
A teacher of philosophy encounters a complicated pupil; a seventeen year old girl who possesses quite a cynical view of the world. He attempts to help her focus on her studies, but soon becomes fascinated by her.Read More »

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In a public housing suburbs, Pierre convinces himself that his wife loves him while the latter believes to be a great diva. For his part, Frank, rocker at heart, tries to flee as far as is possible this family decaying. Only Natalie, the youngest, seems to have his head on her shoulders.Read More »

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In cinematic enfant terrible Jean-Claude Brisseau’s latest outing, “A l’aventure,” the explicit eroticism of his recent oeuvre topples over into outright porn — not because of graphic sex scenes, but rather due to a plot of unalloyed ludicrousness. Granted, levitating 14th-century Flemish nuns rep an inventive step up from randy milkmen, but Brisseau’s humorless intellectual pretentions founder in very shallow waters. Skedded for an April 1 release in France, pic was pre-bought by IFC Stateside, where its Playboy-ish presentation of elegantly writhing naked women brought to ultimate orgasm, combined with disquisitions on the more cosmological Big Bang Theory, might attract horny eggheads.Read More »

The peregrinations of a group of boys and girls from Paris. Two girls swap the capital for the countryside near Montpellier. One of the girls hesitates between dream world and reality.La croisée des chemins marks the start of a significant oeuvre and is a film in which reality and dream are mixed. Jean-Claude Brisseau shot this film on Super8 in 1975. Screened in Studio 43 in Paris, the film was noticed and admired by Eric Rohmer, who attached the name of his production company Les Films du Losange to several films by Brisseau: Un jeu brutal, De bruit et de fureur en Noce blanche.Read More »

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Lisa Heredia, la veuve et la monteuse de Jean-Claude Brisseau, nous a confié ces films. Ce sont ses tout premiers essais, qu’il a montrés quelques années plus tard à Eric Rohmer, qui en fut enthousiasmé et qu’il l’a introduit auprès [de la maison de production] des Films du Losange. Comme il est pour l’instant peu probable que la société nous permette de reprogrammer la rétrospective qui aurait dû lui être consacrée, nous avons jugé de notre devoir de montrer ces films sur notre plate-forme pour compléter la connaissance qui est due à tout grand cinéaste. (Frédéric Bonnaud, Le Monde)Read More »

The three versions and a film about by JCB.
— Des jeunes femmes disparaissent (1974, 20 minutes, 8 mm, NB) IMDb
— Des jeunes femmes disparaissent (1976, 20 minutes, S8 mm, couleur) IMDb
— Des jeunes femmes disparaissent (2014, 30 minutes, HD, couleur) IMDb
— Des jeunes femmes disparaissent – Origine et fabrication (2018, 30 minutes)

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Je savais depuis un moment que je devais faire quelque chose que je voulais totalement différent. Récemment, je me suis mis à regarder une série de films en relief. J’ai alors eu envie de faire le remake d’un film, Des jeunes femmes disparaissent, que j’ai tourné il y a 40 ans, d’abord en 8 mm puis en Super 8. C’était un film à suspense, en noir et blanc, qui avait foutu la trouille à Eric Rohmer et Maurice Pialat.Read More »

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Lisa Heredia, la veuve et la monteuse de Jean-Claude Brisseau, nous a confié ces films. Ce sont ses tout premiers essais, qu’il a montrés quelques années plus tard à Eric Rohmer, qui en fut enthousiasmé et qu’il l’a introduit auprès [de la maison de production] des Films du Losange. Comme il est pour l’instant peu probable que la société nous permette de reprogrammer la rétrospective qui aurait dû lui être consacrée, nous avons jugé de notre devoir de montrer ces films sur notre plate-forme pour compléter la connaissance qui est due à tout grand cinéaste. (Frédéric Bonnaud, Le Monde) .Read More »

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Genevieve, the village nurse, finds Celine, a confused girl with suicidal tendencies, wandering the ward of the hospital one morning. Genevieve takes the young girl home but is afraid to leave her alone. When Celine’s stepmother offers the nurse money to take care of her stepdaughter, Genevieve agrees. A bond forms between the young girl and older woman until one day Genevieve realizes Celine has uncanny healing powers. With its dream-like cinematography and haunting music, Jean-Claude Brisseau’s psychological drama is a lyrical tale of miracles, apparitions, and sainthood. Brisseau, a maverick director unafraid to tackle social and cultural issues, combines naturalism and surrealism in his own distinctive style.Read More »