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Within French cinema, Pialat has been on occasion compared to Robert Bresson, whose Diary of a Country Priest (1951) and Mouchette (1967) were also adapted from Bernanos novels, and it’s true there is a defiant rigour and refusal of affect in their films that brings them close. But even though Pialat had early aspirations to be a painter – and exhibitions of his work, quasi post ...
- The Final Shot: Le Garçu
- Passe Ton Bac d’abord (1979), à Nos Amours (1983): Sadness Will Last Forever
- On Pialat and Loulou
by Fabien Boully Fabien Boully teaches Film Studies at the University of Paris X-Nanterre. In the final shot of Maurice Pialat’s final film, Le Garçu(1995), a beautiful young woman sobs while sitting at a table in a little restaurant in Paris. With difficulty, Sophie (Géraldine Pailhas) manages to contain her grief. At her side, off-screen, we know...
by Noël Herpe Noël Herpe currently teaches French cinema at the University of Caen and the University of Paris-I. He also writes for the journal Positif, and recently published Le Film dans le texte: l’œuvre écrite de René Clair(Jean-Michel Place). This article was first published in Positif(March 2003). It appears here with permission. In the begi...
by Maximilian Le Cain Maximilian Le Cain is a filmmaker and cinephile living in Cork City, Ireland. In the context of my cinematic autobiography, Pialat matters as very few other directors do. I first encountered him in the early to mid ’90s when I was 14 or 15 in the form of a tape of Loulou (1980). Already an incurable and opinionated film junky,...
Jan 15, 2003 · Pialat stated: "You cannot make films about childhood, only films about memory." ... It was based on a famous novel by Georges Bernanos and they were quick to pick a comparison with Robert Bresson ...
Nov 10, 2016 · Maurice Pialat delivered ... tragically ill-fated young heroine of Robert Bresson’s heartbreaking 1967 drama. Both Mouchette and Bresson’s Diary Of A Country Priest are based on novels by ...
Pialat is canny enough, however, to take this knowledge for granted, and thus the fact that he rigorously eschews and elides the scenes of feverish, tortuous creation that figured heavily in both Vincente Minnelli’s Lust for Life and Robert Altman’s Vincent and Theo feeds into a thematic presentation of Van Gogh as divided soul unable to reconcile his life and his art. In other words, here ...
Aug 31, 2011 · Abstract. One of the most gifted directors of the post New Wave, Maurice Pialat is frequently compared to such legendary filmmakers as Jean Renoir and Robert Bresson. A quintessentially realist filmmaker, who, like Bresson, was trained as a painter, his particular form of realism influenced an entire generation of young filmmakers in the 1990s.
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All of these directors excelled at methodical severing of connections between felt emotion and its stereotypical mode of expression—whether by means of elaborate theory put to rigid practice (as in Bresson’s conception of actors as “models”), or else through fresh, impulsive, counterintuitive way of directing actors and structuring films (Pialat).
