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Jacques Rivette (French: [ʒak ʁivɛt]; 1 March 1928 – 29 January 2016) was a French film director and film critic most commonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including L'Amour fou (1969), Out 1 (1971), Celine and Julie Go Boating (1974), and La Belle Noiseuse (1991).
Mar 9, 2016 · As late, beloved French auteur Jacques Rivette came of age in the early 1950s, a thriving film culture in Paris was developing around the journal Cahiers du cinéma, for which Rivette wrote (and was later editor in chief).
Dec 21, 2016 · Rivette, who started out as a critic for Cahiers du Cinéma, set many of his films — including his first feature, “Paris Nous Appartient” (“Paris Belongs to Us”), and his late ...
- Re-Watching Verdoux
- A Time of Scandals
- The Return to Film Criticism
- The Roundtable on Montage
- After Cahiers
Cahiers’ turn to Marxism in the wake of May 1968 marks one of the major turning points in the tumultuous history of the journal, but this transformation was preceded by an equally important shift in orientation earlier in the decade, one which in many ways ushered in its subsequent radicalisation. 1963 saw the notorious “putsch” against Rohmer, who...
Having firmly established the new critical orientation of Cahiers, Rivette did not stay long as editor, a role which he had always seen as transitional: by 1965 he passed the baton onto Comolli, as work on filming Diderot’s La Religieuse consumed his attentions. In April the following year, the film would become a rallying point for Cahiers when, w...
It was at this time that Rivette, having completed the filming and editing of L’amour fou, made his return to contributing to Cahiers. Pascal Bonitzer has affirmed that Rivette’s renewed participation in the journal occurred after a “grave depression” suffered by the filmmaker.28 Since filming on Out 1 would not begin until 1970, we can surmise tha...
Interviews by or with Rivette were not his only forum for expression. Indeed, he also made a return to reviewing films at this juncture, writing critical notes on seven releases over the course of 1969. Curiously, despite Rivette’s undisputed status as éminence grise at the journal, none of these articles were lengthy, conceptually deep essays on t...
As far as published theoretical texts are concerned, this roundtable would be a one-off for Rivette. He did, however, participate in another discussion at the end of 1969 on the issue of space in the cinema, subsequent to a related “weekend of theoretical reflection” at Le Havre in mid-December. The event was specifically conceived as a pendant to ...
At Cahiers he became one of the first to champion contemporary American cinema as opposed to the staid French “cinema of quality”, then prevalent. He became known as a fierce advocate of the auteur theory and praising the work of such directors as Howard Hawks, Nicholas Ray, John Ford, and Robert Aldritch.
The first period of Rivette’s career encompasses both his activity over two decades as a film critic and his boldest experiments as a director. He began contributing to Gazette du Cinéma in 1950 and soon after to Cahiers du Cinéma , which he also edited from 1963 to 1965.
Jan 30, 2016 · the French New Wave who started as critics, Rivette marked the purest distillation of the movement’s intellectual passions and artistic impulses. He directed 23 features, a couple of documentaries and several shorts.
