As American director Alan Rudolph noted approvingly, ‘watching this for the first time took every muscle in my appreciation mechanism. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. The film has grim moments involving drug addiction and the Holocaust. In its own more restrained way, the film was also as subversive as ‘Un Chien Andalou’, Buñuel’s earlier surrealist masterpiece (co-directed with Salvador Dali). We first meet Héloïse through the eyes of Marianne (Noémie Merlant), the second artist invited to capture her likeness, after she refused to sit for the first. The camera follows with interest, matching Marianne’s view (or lack of view). ‘The Seventh Seal’ (1957) fixed the image of the gloomy, introspective Scandinavian playing chess with Death on the beach. This is a comedy of manners but one featuring conspiracy, betrayal and murder. Called a ‘film without actors’, it is utterly fascinating as a slice of social history but also has a wild mischief and youthful energyDir: Jean Vigo ‘Vigo is cinema incarnate in one man,’ the legendary French film curator Henri Langlois rhapsodised about director Jean Vigo, who died of TB aged only 29 in 1934. At Boston Common, Kendall Square, Coolidge Corner. If this silent film is the measure, they ate, drank, went to the park, mucked around and had sex in the woods. The satire is sharp, the tone startling, the humour cathartic’Dir: Rainer Werner Fassbinder Rainer Werner Fassbinder was the arch provocateur of European arthouse cinema in an era of huge generational friction in German society.

Rossellini throws in references to antiquity – and in particular to the disaster at Pompeii – to show the couple’s relationship in a very different light. The film has one of the strangest, most surprising and moving endings in all of cinemaDir: Ingmar Bergman British (and international) perspectives on Sweden are very strongly influenced by the films of Ingmar Bergman. We finally see her, exposed and vulnerable. Sciamma’s previous movie, “Eventually Marianne has to put down her brush and participate rather than observe; eventually Héloïse has to come down off her podium and be more than the observed. Claire Mathon’s camerawork is as exquisitely framed as Marianne herself might make it, each image following the next at the pace of a slowly quickening gavotte. The director was one of the pioneers of Neorealist cinema but this was a film in a very different register to his earlier epics ‘Rome, Open City’ and ‘Paisa’. It’s a caustic, uncomfortably intimate psychodrama about a couple on holiday in Naples whose marriage is falling apart. The three features were closely focused character studies. It tells the story of a barge journey across France. Movie couples didn’t come any more charismatic than the close-cropped Jean Seberg in her ‘New York Herald Tribune’ T-shirt and Jean-Paul Belmondo as the petty gangster, coming on like a Gallic Humphrey Bogart – but a craggier, better looking one who managed to make the simple act of smoking a cigarette into a supreme poetic endeavourDir: Luis Buñuel Spanish director Luis Buñuel’s Oscar winner about a group of well-heeled characters trying, and failing, to have dinner offered everything bourgeois British audiences wanted in a European arthouse movie. Two newlyweds, Captain Jean (Jean Dasté) and his sweetheart Juliette (Dita Parlo), set off together, madly in love, accompanied on their voyage by the ship’s barnacled mate Pere Jules (played by the great French character actor, Michel Simon). We watch Marianne build up the layers of her portrait and then start all over again, willing the spectral Héloïse she sees in her head onto the canvas. Jealousy, discomfort and homesickness threaten to fray the relationship.


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