Paul Vecchiali

Paul Vecchiali – L’étrangleur (1970)

Quote:
Unhappy women are being murdered by Emile (Jacques Perrin), a psychotic young man suffering from the delusion that his acts are mercy killings. The detective (Julien Guiomar) assigned to track down the killer resorts to seriously unorthodox and even unethical methods to get his man. In one instance, he impersonates a psychologist on a TV show he and Emile appear on together and attempts to provoke Emile into revealing himself. Read More »

Paul Vecchiali – Point d’orgue (1993)

Plot: Sébastien Fischer (Rüdiger Vogler), a celebrated pianist, takes the advice of his agent and friend Gorgio and decides to take a break and spend some time in a little village in Provence, at the house of Avril Espart (Micheline Presle). Read More »

Paul Vecchiali – Corps à coeur AKA Drugstore Romance (1979)

Synopsis:
Pierrot, a mechanic in Paris, falls madly for an older woman, a chemist, who at first refuses his love. Finally she accepts his love when she discovers she is affected by a deadly illness. In the background we see everyday stories of a community of Pierrot’s younger and older friends. Read More »

Paul Vecchiali – De sueur et de sang AKA Wonderboy (1994)

Plot: Maurice Maïeux lives in a small modest flat near Paris together with his father, Marcel. Marcel used to be a successful heavy-weight boxer 20 years ago, however, would not take part in sham fights. Consequently he was made to disappear from public by hitting him below the belt during one of the fights, him thus being impotent and having to walk on crutches for the rest of his life. His son Maurice is 18 years old, 1.90m tall and weighs 100 Kg. Be it for the sake of taking revenge or for the mere wish that his son should reach more in life that he himself did, Marcel’s heart-felt wish is that Maurice should become a successful boxing champion – and one day even world champion ! Yet, Maurice fights against being patronized by his father. Read More »

Paul Vecchiali – C’est la vie! AKA That’s Life (1980)

The world and a life in four walls, and another portrait of a mother – selfish and generous, mercurial and unchanging. C’est la vie! (1980) takes Pagnol and Renoir’s experiments with open-air theatre to inspired and ecstatic conclusions, especially the latter’s love of depth-framing across windows and partitions, and lays the groundwork for Vecchiali’s later experiments with long-take space and time in Once More (1988). Also a pseudo-sequel to Marie-Claude Treilhou’s exquisite Simone Barbès ou la vertu (1980), reaffirming the Diagonale as not just a production model, but a kind of surrogate family, and a creative universe unto this forged community and itself. With Chantal Delsaux, Ingrid Bourgoin, Jean-Christophe Bouvet, and my beloved Hélène Surgère and Michel Delahaye. Read More »

Paul Vecchiali – La cérémonie (2014)

“La Cérémonie” de 2014, est donné en complément de “Change pas de main” dans l’édition La Traverse. C’est un film tourné en parallèle au dernier long “Nuits blanches sur la Jetée” ; une sorte de rêverie incestueuse construite sur la permutation ludique des deux interprètes, Astrid Adverbe et Pascal Cervo, à nouveau fils et fille de fiction tendrement fantasmés du réalisateur.
“The Ceremony” (2014), is featured as an extra to “Change pas de main” in the La Traverse release. It is a film shot in parallel with the feature film “Nuits blanches sur la jetée”; a sort of incestuous reverie built on the playful permutation of the two performers, Astrid Adverbe and Pascal Cervo, this time again as fictive son and daughter , tenderly fantasized by the director. Read More »

Paul Vecchiali – Le récit de Rebecca (1964)

Ce film, ou plutôt ce “divertissement cinématographique”, tourné principalement dans les châteaux et les paysages sauvages de la Provence, a été tiré d’un chapître d’un livre fantastique du XVIIIème “Manuscrit trouvé à Saragosse” de Jan POTOCKI. Il s’agit du récit, fait par une jeune femme, Rebecca, au héros du roman, de ses noces ésotériques avec les gémeaux de la Kabbale et de son initiation par son frère aux pouvoirs surnaturels. Pour adapter ce récit, Paul VECCHIALI a méler des images réalistes à de l’iconographie et de l’animation abstraite. Il a utilisé pour les dialogues le texte intégral de POTOCKI, n’y ajoutant qu’une seule phrase, la dernière du film. Le choix des couleurs répond aussi à des critères symboliques : le jaune pour les démons, le rouge pour la Kabbale, le bleu pour les divinités. Sur le plan de la photographie, ALEKAN et VECCHIALI ont réalisé des prouesses techniques : utilisation du plan fixe, photos retouchées, etc… Read More »