Editor
Doctor Lepage knows his wife Françoise through and through. He protects her, watching over her. In a masterly way he chases all 'butterflies' away that come in her neighborhood. Françoise knows that she is nice.
Writer
Doctor Lepage knows his wife Françoise through and through. He protects her, watching over her. In a masterly way he chases all 'butterflies' away that come in her neighborhood. Françoise knows that she is nice.
Director
Doctor Lepage knows his wife Françoise through and through. He protects her, watching over her. In a masterly way he chases all 'butterflies' away that come in her neighborhood. Françoise knows that she is nice.
Sound
This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.
Writer
Control X Plot
Director
Control X Plot
Sound
The dialogue is based on the Gospel according to St John. The apostles are played by friends (the disciples) of Boris Lehman, most of them movie-makers, filmed in front of the last house still standing opposite the new buildings of the European Union. Judas is played by Claudio Pazienza and Christ by Boris Lehman. The film was shot in a matter of hours on a Sunday morning, with an incredible decor in a street that had been razed to the ground by property developers, just before the police arrived.
Sound
Toda la existencia de la fascinante anciana que da título a este film de Lehman tiene un aire de leyenda. El cineasta define A comme Adrienne de la siguiente manera: “Esta película es un regalo. Un regalo para una mujer. Tiene 77 años, la edad máxima para leer a Tintín. Una noche me invitó a cenar, y hacia el final de la velada, comenzó a recitar historias del folclore persa. Le dije que me gustaría regresar la semana siguiente para filmarla. Se pensó que estaba bromeando, porque muchos le habían dicho lo mismo antes, y ninguno volvió. Pero esta vez sí pasó… La filmé a menudo. Aparece en muchas de mis películas. Quizás el cine ha cambiado la vida de Adrienne, pero lo que es seguro es que ella ha contribuido a cambiar la mía”. De nuevo, la creación es indivisible de la vida real. La película concluye con Adrienne relatando un cuento persa, reflejo de su propia existencia y del cine de Lehman, un artista que siempre ha sabido disfrutar de una buena historia.
Sound
Through many photographs, he tells the story and allows his story to be told by those photographed. This is where the brilliant documentary reversal takes place.
