Director of Photography
"Director Yolande du Luart had been involved in Lettrist circles in France before decamping for California to study film at UCLA, where her classmates included Charles Burnett and Haile Gerima. During this time, UCLA professor Angela Davis was a subject of increasing scrutiny after coming out as a Communist, provoking the ire of administrators and governor Ronald Reagan. Believing that Davis would be an ideal film subject, du Luart immediately began making a documentary, though she would ultimately return to France to complete the project after receiving unwanted attention from the FBI. “Over the course of events,” writes Nicole Brenez, “this appreciative and sensitive portrait of a politically engaged philosopher had been transformed into a call for the liberation of an imprisoned activist and an internationalist revolutionary manifesto.”" - Film at Lincoln Center
Producer
"Director Yolande du Luart had been involved in Lettrist circles in France before decamping for California to study film at UCLA, where her classmates included Charles Burnett and Haile Gerima. During this time, UCLA professor Angela Davis was a subject of increasing scrutiny after coming out as a Communist, provoking the ire of administrators and governor Ronald Reagan. Believing that Davis would be an ideal film subject, du Luart immediately began making a documentary, though she would ultimately return to France to complete the project after receiving unwanted attention from the FBI. “Over the course of events,” writes Nicole Brenez, “this appreciative and sensitive portrait of a politically engaged philosopher had been transformed into a call for the liberation of an imprisoned activist and an internationalist revolutionary manifesto.”" - Film at Lincoln Center
Writer
"Director Yolande du Luart had been involved in Lettrist circles in France before decamping for California to study film at UCLA, where her classmates included Charles Burnett and Haile Gerima. During this time, UCLA professor Angela Davis was a subject of increasing scrutiny after coming out as a Communist, provoking the ire of administrators and governor Ronald Reagan. Believing that Davis would be an ideal film subject, du Luart immediately began making a documentary, though she would ultimately return to France to complete the project after receiving unwanted attention from the FBI. “Over the course of events,” writes Nicole Brenez, “this appreciative and sensitive portrait of a politically engaged philosopher had been transformed into a call for the liberation of an imprisoned activist and an internationalist revolutionary manifesto.”" - Film at Lincoln Center
Director
"Director Yolande du Luart had been involved in Lettrist circles in France before decamping for California to study film at UCLA, where her classmates included Charles Burnett and Haile Gerima. During this time, UCLA professor Angela Davis was a subject of increasing scrutiny after coming out as a Communist, provoking the ire of administrators and governor Ronald Reagan. Believing that Davis would be an ideal film subject, du Luart immediately began making a documentary, though she would ultimately return to France to complete the project after receiving unwanted attention from the FBI. “Over the course of events,” writes Nicole Brenez, “this appreciative and sensitive portrait of a politically engaged philosopher had been transformed into a call for the liberation of an imprisoned activist and an internationalist revolutionary manifesto.”" - Film at Lincoln Center
Assistant Director
A nearly forgotten feature by one of the founders of Lettrism, Closed Vision was the directorial debut of Marc'O (born Marc-Gilbert Guillaumin), editor of the short-lived Lettrist film journal Ion and producer of Jean-Isidore Isou's infamous Traité de bave et d'eternité. Compared to that film or Maurice Lemaitre's Le film est déjà commencé?, Closed Vision is a more literary and downright genial effort. If Isou and Lemaitre were content to "destroy cinema" (exposing ugly, banal images or simply splicing in scratched-up blank leader in semi-conjunction with endless soundtrack harangues), Marc'O here seems almost to save it - or at least to invest serious effort toward finding a cinematic idiom equivalent to the novel's stream-of-consciousness (the subtitle is 'Sixty Minutes in the Interior Life of a Man'). Debuted at the 1954 Cannes Film Festival with endorsements from Jean Cocteau and Luis Buñuel.
