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Maurice Pialat’s stark, unsentimental films left a mark on French cinema that arguably outweighs even that of the nouvelle vague. A director who thrived on conflict, he captured moments of searing emotional power on screen, inspiring a generation of French directors and actors. As we bring the first complete Pialat retrospective in the UK to ...
- 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,...
Mar 18, 2012 · A moment of genuine human connection becomes the justification for the entire film’s existence, the reason why Pialat continues to keep his eye trained even on images that might sear into it. The ordeal is justified film after film – until Sous le soleil de Satan. Here for the first time Pialat fails to conceive of an act of grace ...
Both films were shot on location, Truffaut's in Paris, Pialat's in the northern mining country around Lens, using relatively unknown or non-professional actors. Both filmmakers even had the same impulse to salvage otherwise unusable footage by having it serve as the background to the opening credits.
Dec 6, 2019 · Maurice Pialat (1925-2003) is often described as a ‘realist’ filmmaker. His work is certainly full of powerful moments – of spontaneous tenderness or sudden brutality between people – that are strikingly lifelike in their effect. But Pialat himself steadfastly refused the label of realism.
Joël Magny, Maurice Pialat (Paris: Editions de l’etoile, 1992). 1. Even the best sentiments add to our suffering. As Joël Magny puts it: ‘It’s as if every gesture of affection can only return us to our fundamental wound’. (6) 2. In the case of couples, there is a predominant will to hurt oneself by hurting the other.
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Maurice Pialat (French:; 31 August 1925 – 11 January 2003) was a French film director, screenwriter and actor known for the rigorous and unsentimental style of his films. His work is often described as " realist ", [ 1 ] though many film critics [ 1 ] [ 2 ] acknowledge it does not fit the traditional definition of realism.
