Les équilibristes, a film by Nico Papatakis with Michel Piccoli, inspired by Jean Genet, was broadcast in two parts on October 11 and 18, 1991, on La Sept. It was on this occasion that Philippe Grandrieux made this short film for the antenna of La Sept, consisting of an interview with Nico Papatakis and the reading of extracts from Jean Genet’s text, “Le tightrope walker”, read by the actress Ann-Gisel Glass.

Text of the on-air presentation of the second part of the film: “Les equilibristes”… dance more than ever on a tightrope, and in the game of balance, it is the less gifted who hurt themselves the most. Second part of the TV movie by Nico Papatakis, with Michel Piccoli and Lilah Dadi. Marcel gets tired, Marcel is bored. Marcel finds that on land, the albatrosses lack grace, Marcel loses interest in the wire and the tightrope walker… Franz-Ali slips and Marcel does not catch up with him, too busy watching the progress of a young biker in the distance.

(translated from https://www.movielike.me/)

Les Équilibristes - Nico Papatakis, Jean Genet (Philippe Grandrieux, 1991).mkv

General
Container:  	Matroska
Runtime: 	8 min 33 s
Size: 	171 MiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	2 668 kb/s
BPP: 	0.051
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https://nitro.download/view/B71EF1A6D8856AE/Les_Equilibristes_-_Nico_Papatakis,_Jean_Genet_(Philippe_Grandrieux,_1991).mkv
https://nitro.download/view/BAEA726B333B164/Les_Équilibristes_-_Nico_Papatakis,_Jean_Genet_(Philippe_Grandrieux,_1991).srt

Language(s):French
Subtitles:English

The post Philippe Grandrieux – Les Équilibristes – Nico Papatakis, Jean Genet AKA The Equilibrists – Nico Papatakis, Jean Genet (1991) first appeared on Cinema of the World.

Third part of an experimental television program led by Grandrieux questionning TV flux aesthetic, this film focuses on a single interview with Jean-Louis Schefer who delivers his hypothesis on man-made images of itself.

163MB | 34m 25s | 480×368 | mkv

https://nitro.download/view/8F3F30E73AECD50/Le_Labyrinthe_-_Le_temps,_la_mémoire,_les_images.mkv
https://nitro.download/view/889BE17F284575D/Le_Labyrinthe_-_Le_temps,_la_mémoire,_les_images_EN.srt
https://nitro.download/view/468BB8E7AFBD3F6/Le_Labyrinthe_-_Le_temps,_la_mémoire,_les_images_FR.srt

Language:French
Subtitles:English,French

The post Philippe Grandrieux – Le Labyrinthe – le temps, la memoire, les images (1989) first appeared on Cinema of the World.

A FICUNAM commission for four directors, Liminal seeks to play with poetic affinities between film and music. Moving across aesthetic and generational differences, the film-makers explore this relationship through four distinct stories as to context and imaginary.

Within the category of world cinéma d’auteur, Philippe Grandrieux and Lav Diaz have much in common in terms of their affinities with radical cinematographic form: both are extremely inventive in their practical relationship between music and narration.

With La lumière la lumière (Lights, lights…), the French artist and director evokes the obsessive relationship between two women whose existence is kept by a lugubrious voice and by Alan Vega’s and Marx Hurtado’s famous Saturn Drive Duplex.

In The World is Cold, the Filipino director describes a young man’s life and his musical dreams intertwined with images of an erratic, phantasmagoric future full of obstacles.

Relying on an entirely different aesthetics, Manuela de Laborde and Óscar Enríquez, two young directors of Mexican descent, approach musical phenomena quite differently. Through chaotic sound textures, Manuela de Laborde takes us towards three radically distinct landscapes in her Azúcar y saliva y vapor (Sugar, saliva and steam) where subtle and sensual musical textures interweave with a leitmotiv in the background.

In Lady Lazaro, Óscar Enríquez employs opera singing both as a protagonist and as a supernatural means of spiritual healing for broken souls.

1.58GB | 1h 05m | 1920×1080 | mkv

https://nitro.download/view/79B91E5E1EE4107/Liminal.2020.Anthology.SUBBED.1080p.WEB.x264-gooz.mkv

Language:French, Tagalog, Spanish
Subtitles:English (hardcoded)

The post Philippe Grandrieux & Lav Diaz & Manuela De Laborde & Óscar Enríquez – Liminal (2020) first appeared on Cinema of the World.

Quote:
The Scream, a 63-minute sequence depicting nude bodies engaged in variations of cathartic experience, is projected on eleven separate channels across five walls, with a three-second delay for each channel at its Hong Kong premiere along with the new gallery installation, The Bare Life.

1.27GB | 1h 02mn | 1920×1080 | mkv

https://nitroflare.com/view/2BFC1D6541EF631/The_Scream_2019.mkv

Language(s):None
Subtitles:None

The post Philippe Grandrieux – The Scream (2019) first appeared on Cinema of the World.

Quote:
Sombre, as Grandrieux’s first feature film, establishes some of the important characteristics of his art: An insistence on vision, with characters beyond psychologies, driven by biology or metaphysical forces.

Love (a mix of brotherly and sexual Love, a true awareness of the other, a communion) mostly overrules all, and its discovery by Jean creates waves that emanate in every shot, every cut and every sound in the rest of Sombre.

While the movement in Un Lac is from perfect love (a paradise communion) to the loss of innocence, here the movement is reversed, not in the sense that the film has a happy ending, there are no clear conclusions (nor clear beginnings) in Grandrieux… The discovery of the other (an other?) disturbs the existing rules of behaviour.

This is also true for Claire, who have a face to face conversation with a stranger, something completely unexpected in a film of such few words. A scene that would have been ordinary in another film (except the abusively frontal camera) acquires a huge force by its contrast to the rest of the work.

What is truly impossible to describe in words is the sense of rhythm, and Grandrieux’s Brakhage-like belief in the transformative powers of vision and perception. It’s a sombre film alright, content-wise, but Grandrieux also shoots in extremely low-light situations, abstracting bodies, faces, expressions. He teaches us to care less about what’s happening, and this increases in every new film of his. Instead, we learn to care about the how, and the way, the feeling, the sense of the presence, not of the actual happenings, because the films are not realistic, but the presence of the director, filtering, flirting and dancing with the events that are taking place.

Important to note that he is the cameraman in all his films, he says there wouldn’t be a point making films otherwise. Here’s something from an interview with him in Balthazar (first in original French, then my English translation):

“Je ne pourrais pas imaginer, même avec le plus grand cadreur du monde avec qui je m’entendrais parfaitement bien… C’est le regard, c’est la vision… C’est le regard : comment moi je vous regarde là maintenant, je ne peux le dire à personne. C’est vraiment une question sur l’altérité, c’est la limite.”

“I could not imagine, even with the greatest cameraman in the world with whom I get on very well… It’s the look, it’s the vision… It’s the look: how I look at you here and now, I cannot describe anyone. It’s really a question of otherness, it’s the limit.”

The art of cinema only speaks strongly when every cut matters. In Sombre, every cut is an event, a comment about the rest of the film. Every formal choice, or everything that happens storywise have meanings that constantly expand. Grandrieux never chews on the same idea, the same feeling, he constantly looks for new ways to perceive the rest. And he doesn’t stop doing it even after everything is over.

It’s unfortunate that I had to see it in a terrible .avi version, but I would call Sombre sublime simply because I felt missing so much by not experiencing it in its true medium. It’s a film that asks us to be aware of the film grain. There lies the true expression in Un Lac. And seemingly in Sombre.

1.67GB | 1h 51mn | 921×576 | mkv

https://nitroflare.com/view/5D7E8564FE5A1EE/Philippe_Grandrieux_-_(1998)_Sombre.mkv
https://nitroflare.com/view/64CB96976700F92/Sombre.srt

Language(s):French
Subtitles:English

The post Philippe Grandrieux – Sombre (1998) first appeared on Cinema of the World.

Grandrieux pays an homage to Masao Adachi, a Japanese filmmaker with a turbulent past and now a recluse in his homeland, creating a portrait of this man always faithful in its very own way.

Il.se.peut.que.la.beauté.ait.renforcé.notre.résolution.2011.Dvdrip.x264-MMENDES.mkv

General
Container:  	Matroska
Runtime: 	1 h 13 min
Size: 	926 MiB
Video
Codec: 	x264
Resolution: 	720x576 ~> 1024x576
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	1 524 kb/s
BPP: 	0.147
Audio
#1:  	French 2.0ch AC-3 @ 192 kb/s (Stereo)

https://nitro.download/view/8489BEB7A22B05D/Il.se.peut.que.la.beaute.ait.renforce.notre.resolution.2011.Dvdrip.x264-MMENDES.mkv

Language(s):French, Japanese
Subtitles:English

The post Philippe Grandrieux – Il se peut que la beauté ait renforcé notre résolution – Masao Adachi (2011) first appeared on Cinema of the World.

Meurtrière is the second movement of a triptych by Philippe Grandrieux whose common thread is anxiety. This performance of four women dancers is the follow-up to White Epilepsy. The theme of Meurtrière is “Das Ding”. For Grandrieux, “it is on the edge of what can be shown and seen.”

https://nitro.download/view/F38D06C9FDAC96B/Meurtriere.mkv

https://rapidgator.net/file/791e9d813a775636d23d1d8c573347e7/Meurtriere.mkv

Language(s):None
Subtitles:no

The post Philippe Grandrieux – Meurtrière AKA Murderess (2015) first appeared on Cinema of the World.