Tag Archives: Anne-Marie Miéville

Anne-Marie Mieville – Libre propos sur la fonction de mère – Papa comme maman (1977)

Hiver 1977. Anne-Marie Mieville, Alain Tanner, Loretta Verna et Francis Reusser réalisent chacun, à l’aide de films super 8 mm et de vidéo étroite, une oeuvre personnelle pour l’émission Ecoutez voir.

Ce film d’Anne-Marie Mieville est diffusé le 18 novembre 1977, sous le titre Papa comme maman. C’est le volet de la série. Anne-Marie Mieville s’attache au thème singulier de la violence des parents sur leurs enfants. Père et mère peuvent chacun faire subir une violence cachée dans l’univers de la famille. Read More »

Anne-Marie Miéville – Mon cher sujet AKA My Dear Subject (1988)

From birth to death every subject remains intact. Three ages, three women. Daughter, mother, grandmother. Each of them before and after still and always. And the men too, those they meet those they love. Read More »

Anne-Marie Miéville – Lou n’a pas dit non (1994)

Pierre et Lou sont séparés. Lui sur le point de se remarier mais y renonçant à la mairie. Lou travaille sur un film présentant les statues de Mars et Vénus au Louvre. Pierre et Lou sortent ensemble quelquefois le soir. Mais tandis qu’il papillonne d’une femme à une autre, Lou se lie à Théo, le conservateur du musée, détesté par Pierre. Lou participe aussi à l’action d’une association luttant pour les personnes traversant des difficultés morales. Lou termine son court-métrage qui est projeté. Read More »

Jean-Luc Godard & Anne-Marie Miéville – The Old Place : Small Notes Regarding the Arts at Fall of 20th century (1998)

Like its predecessor (De l’origine du XXIe siècle), The Old Place examines the role of art in history, only this time in still rather than moving images. Says Michael Althen of this piece, commissioned by the New York Museum of Modern Art in 1999, “[T]he aim is not to give an overview of art history but to cut a path through the forest by asking how art relates to reality and its horrors.” Throughout its mid-length duration, reflections on art and its traces cross swords with future-oriented impulses. The questions it poses are not meant to be answered, but taken as wholesale embodiments of cultural memory, which tends to account for reality via myths and legends. As in the opening image of a monkey dangling from a tree, it is dependent on the presence of gravity to give hierarchical sensibilities a grounding from which to suspend our inhibitions. Read More »

Jean-Luc Godard & Anne-Marie Miéville – Comment Ca Va? (1978)

A Jean-Luc Godard film about politics and the media, in which two workers in a newspaper plant attempt to make a film. Read More »

Anne-Marie Miéville – Nous sommes tous encore ici aka We’re All Still Here (1997)

“In some ways more obscure and difficult than Jean-Luc Godard, with whom she has collaborated in various capacities since 1972, Anne-Marie Mieville continues to puzzle even as she sharpens her mise en scene. This 80-minute feature from 1997 is the most interesting solo effort of hers I’ve seen, though I’m not entirely sure what to make of it, especially during the third and final sequence. In the first and most impressive sequence, an extract from Plato’s Gorgias is dramatized inside a bourgeois household, with Callicles (Bernadette Lafont) performing various household chores as she quarrels with Socrates (Aurore Clement). In the second, Godard turns up on a theater stage to rehearse a monologue condensed from a passage in Hannah Arendt’s The Origins of Totalitarianism below a huge photograph of Arendt as a young woman, an image that recalls the opening of Bergman’s Persona. Read More »

Jean-Luc Godard – Le livre d’image AKA The Image Book (2018) (HD)

IMDB wrote:
Nothing but silence.
Nothing but a revolutionary song.
A story in five chapters like the five fingers of a hand. Read More »