Anouk Ferjac

Guy Gilles’ view of Mexico focuses mainly on the dreams of ordinary Mexicans and their ways of expression: fun and festivity.Read More »

At the end of the Spanish civil war, Fando, a boy of about ten, tries to make sense of war and his father’s arrest. His mother is religious, sympathetic to the Fascists; his father is accused of being a Red. Fando discovers that his mother may have aided in his father’s arrest. Sometimes we witness Fando imagining explanations for what’s going on; sometimes we see him at play, alone or with his friend Thérèse. Oedipal fantasies and a lad’s natural curiosity about sex and death mix with his search for his mother’s nature and his father’s fate. Will Fando survive the search?Read More »

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Forty-year old Abel travels to France from Quebec on a pilgrimage to explore the mother country and the land of his ancestors. As he travels around and does all the things tourists are supposed to do, his expectations and perceptions are shattered and he is forced to revise his romanticized image of France. As he travels to see the places where Rimbaud was born, lived, and died, he meets two women who show him the warmth and kindness he was searching for.Read More »

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“Je T’Aime, Je T’Aime,” which opened yesterday at the New Yorker Theater, was shown at the eighth New York Film Festival. The following is from Roger Greenspun’s review, which appeared Sept. 15, 1970, in The New York Times.

Like most of the previous films of Alain Resnais, “Je T’Aime, Je T’Aime” is science fiction of a sort. And like virtually all of Resnais’s previous films, its concern is for the past recaptured. To support this concern it proposes a story, the most fragmented of all Resnais’ stories, dealing with, perhaps intense but nevertheless transitory love affair.Read More »