Gaël Badaud
Director · 1945 – 2002 · France
At the age of 32, Gaël Badaud inaugurated a period of intense creativity (drawing, poetry, vocal music, film), after experiencing a constant wandering and struggle for survival, which marked him for his entire existence. Retired from his parents (gypsy mother and Breton father) by the Public Assistance when he was 4 years old, he was placed on a farm with a foster family. But this tormented being feels different in this environment foreign to his nature. At the age of 20, he left Loire-Atlantique and moved to Paris. Ten years later, in 1976, he meets Teo Hernandez, with whom a fruitful exchange takes place. He becomes the interpreter of the filmmaker's films, which, teaching him to read and write, allows him to express his sensitivity. In return, he shares with him his experience of "life in a vacuum". From their collaboration are born Liberté provisoire (1977), Gaël (1978) and Tables d'hiver (1978-1979) - filmed by Téo - who give us the keys of their relationship, and the achievements of Gaël, filmed, according to his mentor, "According to his personal gaze, without worry of any school or any conceptualization, cinema abrupt in the sense that it irrupted without rhetoric in the field of the filmic. Cinema away from the recipes and which proposes a new look, that of the innocence ".
Movies14
Movie4.9DocumentaryCinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.
Cinématon
1978 · 7 votes
Movie5.0FantasyScience FictionLacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández. Part three of a tetralogy devoted to Christ’s Passion, Lacrima Christi is an exploration of the transfer between desire and myth that takes as its starting point a series of objects found in the flea market of Belleville.
Lacrima Christi
1980 · 2 votes
Movie1.0"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked bodies or parts of bodies, is a film of rupture. Punctuations of black primers break up the filmic continuity, isolating snapshots or brief furtive movements: the body rolling over itself, colliding with the other or falling (these terrible falls, as sharp as a fainting spell, like that of the hero of The Andalusian Dog, whose hand, as he falls, brushes for a moment against the naked back of a beautiful, insensitive woman, and which is, it seems to me, the most striking representation of the link between passion in love and death that can be given). Often these movements are repeated and the actors seem to be the descendants of Muybridge's bonshommes lost in a white room. At the end - this is the longest shot in the film - in a corner of the room, one of the two actors remains crouched, hiding his eyes in his hands. Then the corner reappears, empty."
Angle
1978 · 2 votes
Movie4.7The purpose of the film is to go beyond the notion of the body as a system of functions, symptoms and reflexes that try to delimit the whole body. The body, represented here with all its norms, confronted with itself in a space devoid of causal references, moves towards the abolition of its image and the springing of its inner source: it is the luminous nucleus of the human body.
Corps aboli
1978 · 3 votes
Movie2.3The film Graal goes (as well as all the films which precede it) toward an open and avowed paganism, in which pagan force and magic imbue all the subjects at all times. (...) This is not about "the" Holy Grail and its legend but about the concept of the Grail, taken in a larger sense as a universal archetype: abbreviation, metaphor of the cosmos. In fact, achievement. That is what the Grail is: the achievement's completion.
Graal
1980 · 3 votes
Movie10.0DramaThe tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Cristaux
1978 · 1 votes
Movie6.0In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
4 à 4 Métro-Barbès-Rochechou-Art
1983 · 1 votes
MovieA gong will never abolish chance? If chance is travesty of desire, and desire movement without measure, cinema is vibration of this desire in fugue.
Gong
1981
MovieLiberté provisoire takes from everyday life, transforming the ordinary into a sensory delight. Walks in the Belleville district, Ménilmontant, leading to Père Lachaise cemetery, to the tombs of Piaf and Sarapo.
Liberté provisoire
1977 · 1 votes
MovieDésir
1977
MovieDocumentaryTeo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.”
Movie3.2DramaAll of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Cristo
1977 · 4 votes
Movie1.7Exploration of bodies. Point, counterpoint. A black glove goes in search of a red glove.
Le gant de l'autre
1977 · 3 votes
MovieThis film is the most "plastic", the most "actionist" of Nedjar: it is his In contextus or his Double Labyrinth. Except that here - a single actor filmed in close-up on a plain black background. Nedjar "wiggles" his camera, with Gaël Badaud manipulating a green net or a mirror, wearing a gas mask or covering his head with a red-skinned knit like a bloody balaclava, he inaugurates a search for luminous calligraphies that will soon be shared with Teo Hernandez.-- Dominique Noguez.
Gestuel
1978