You Can’t Love Someone In A Void: Philippe Garrel’s Wild Art
From AFS Associate Artistic Director Holly Herrick:
JEALOUSY comes to Austin next week with two screenings at the Marchesa (November 2nd and 3rd), and while Philippe Garrel continues to be considered as the almost satirical epitome of art house in the United States, his films demand a more thorough investigation by US cinephiles. This is especially true since JEALOUSY, with it’s easy humor and slim running time, might be the most accessible Garrel film in years, while still being completely brilliant (no hardcore Garrel fans will feel unsated).
Fortunately, we’ve got some great writers who have pinpointed what is so endlessly fascinating about Garrel’s work, important for the uninitiated who need that extra push. Over at Cinemascope, Blake Williams points out Garrel’s superlative romanticism, and highlights how Garrel is in a class all his own in terms of bold Freudian underpinnings (his actor son Louis Garrel has played the cinema-incarnated Philippe in every Garrel film for the past 10 years); and fearless autobiographical storytelling (witness the gory detail of being in love with a drug addict in I CAN NO LONGER HEAR THE GUITAR, based on Garrel’s relationship with Nico). Read the full essay here.
At Filmmaker, Vadim Rizov discusses his own complicated relationship with Garrel’s films in a very fun read that compares Louis Garrel to Grumpy Cat.
