Louis Hochet

In the summer of 1986, Danièle Huillet and Jean-Marie Straub were working in the park of an old Sicilian mansion and in a clearing at the foot of Mount Etna shooting Der Tod des Empedokles. Assistant cameraman Jean-Paul Toraille toyed around, so to speak, with his first video camera, filming the daily work on the set. Now, 24 years later, he was joined by Jean-Marie Straub in editing the material into a film. Anyone who expected the shooting of Les Avatars de la mort d’Empédocle to be an austere affair, an exercise entirely devoid of humour or a Straubian tour de force is proven wrong: so much lightness, joy, concentration, spells of waiting for the sun to come out – and even proper slapstick in between – is hard to find.

A man returns to visit his native Sicily after living in New York for a long time. He learns about the Sicilian way of life from stylized conversations with an orange picker, his fellow train passengers, his mother, and a knife-sharpener.

About the history of the French region of Lorraine, called Lothringen in German.

A fearless Antigone, refusing to allow the dishonored body of her murdered brother Polynices to be devoured by vultures and dogs, defies the Thebian tyrant Creon by burying him.

A landmark work of symbolistic imagery. The words that the filmmakers speak offscreen are imaginary conversation with Cézanne quoted from a critique by Joachim Gasquet. An exchange of memories spanning over 250 years interweaves everything from the philosophy of Empedocles to excerpts from the film Madame Bovary, to extant paintings by Cézanne, to the buildings of the artists’ village at Mont Sainte-Victoire. —ntticc.or.jp

A companion piece to the earlier film ‘The Death of Empedocles’, 'Black Sin' is an adaptation of the third version of Friedrich Hölderlin’s play ‘Der Tod Des Empedokles’.

Film adaptation by Straub and Huillet of Hölderlin's 1798 tragedy on the symbolic death of Empedoclus, the legislator in Ancient Greece.

A young man, recently arrived in New York from Europe, becomes swept up in a series of events that are beyond his knowledge or control.

"Essay on the Military and the Power", a phrase that also belongs to the title of "Gestures & Fragments", sums up the spirit of the film, based on three points of view on the same theme: Otelo Saraiva de Carvalho and Eduardo Lourenço, in their own roles, and the one played by Robert Kramer, as an American journalist bent on seeking explanations for the process of the Portuguese Revolution.

Inspired by a letter by Friedrich Engels and a 1974 account of two militant Marxist writers who had been imprisoned by the Nasser regime, Straub-Huillet filmed this film in France and Egypt during 1980. They reflect on Egypt’s history of peasant struggle and liberation from Western colonization, and link it to class tensions in France shortly before the Revolution of 1789, quoting texts by Engels as well as the pioneering nonfiction film Workers Leaving the Lumière Factory (1895).

The child Ernesto doesn't want to go to school any more because, as he says, all he is taught there is things he doesn't know.

'Dalla nube alla resistenza (From the Cloud to the Resistance ) (1978), based on two works by Cesare Pavese, falls into the category of History Lessons and Too Early, Too Late as well. It, too, has two parts—a twentieth-century text and a text regarding the myths of antiquity, each set in the appropriate landscape. Pavese's The Moon and the Bonfires looks back on the violent deaths of Italian anti-Fascist resistance fighters; Dialogues with Leucò is a series of dialogues between heroes and gods, connecting myth and history and returning to an ambiguous stage in the creation of distinctions, such as that between animal and human, which are fundamental to grammar and language itself. Such a juxtaposition of political engagement with profoundly contemplative issues such as myth, nature, and meaning points to the characters of Empedocles and Antigone in the Hölderlin films.' (From "Landscapes of resistance. The German Films of Danièle Huillet and Jean-Marie Straub" by Barton Byg)

A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page.

A familiar Biblical tale transformed into a cinematic opera of seemingly endless possibility. In expressive, melodic tones, the fraternal pair debate God’s true message and intent for His creations, a conflict that leads their followers towards chaos and sin. Set almost entirely within a Roman amphitheater whose history lends every precise line-reading and gesture, every startling camera move and cut, a totalizing force.

Marco Mazzetti, a driving instructor, lives with his wife Irène and their young child. After a series of dizzy spells, he goes to the doctor and discovers that he is four-month pregnant. Marco then becomes internationally famous...

Straub-Huillet’s first color film, adapts a lesser-known Corneille tragedy from 1664, which in turn was based on an episode of imperial court intrigue chronicled in Tacitus’s Histories. The costuming is classical, and the toga-clad, nonprofessional cast performs the drama’s original French text amid the ruins of Rome’s Palatine Hill while the noise of contemporary urban life hums in the background. Their lines are executed with a terrific flatness and frequently through heavy accents; the language in Othon becomes not merely an expression but a thing itself, an element whose plainness here alerts us to qualities of the work that might otherwise be subordinated.

Jonas is on the road to Salina. He stops at a gas station/restaurant and its owner, Mara, is struck by his resemblance to her dead son, Rocky. He decides to stay on and meets Mara's friend Warren and Rocky's sister Billie, but dark facts are to be revealed about the death of Rocky.

向こう見ずの美学。 すべての"かっこいい"の原点。伝説のスター、再発見。 ルパン三世、コブラのモデルにして、ジャッキー映画のルーツ。 ヌーベルバーグだけじゃない! 本当の、最高の、すべてが面白すぎるベルモンド! !

A woman seeks to avenge her father's death using a local dancer, with long poisonous fingernails, to do her bidding.

Al Pereira, a wise-cracking superspy, investigates a series of assassinations being performed by ruthless killers with bronze skin and horn-rimmed glasses. The trail of these mindless automata leads him to the lair of a seductive villainess who has formulated a computer-powered plot to overthrow the governments of Europe. 'Cartes sur table' is at once an homage to classical Hollywood thrillers and a playful riff on the newly-popular James Bond films.

ヌーベルバーグを代表する女性監督アニエス・バルダの代表作のひとつで、幸福を求める平凡な夫婦に訪れる皮肉な運命を描いた人間ドラマ。フランソワは美しい妻テレーズや可愛い子どもたちに囲まれ、平穏で幸せな毎日を送っていた。ある日、近くの町へ出かけたフランソワは、郵便局で働く女性エミリーと出会い、恋に落ちてしまう。その一方で、フランソワは妻テレーズのことも心から愛していた。ある日、家族を連れてピクニックに出かけたフランソワは、テレーズに不倫の事実を打ち明けるが……。1965年ベルリン国際映画祭で銀熊賞を受賞した。

A story about a widow who begins to receive blackmail letters demanding money from her. This is when everyone in the small town she lives in dismissing her husband.

When Massa is released from prison, he's sure that Luciano, an old freind, is responsible for his incarceration. Massa proceeds to keep watch on Luciano, who has been living with Massa's beloved sister Maria. Feeling doubly betrayed because of his unhealthy adoration for Maria, Massa is determined to get back at Luciano and ends up in a deadly game of roulette.

In this movie based upon Julian Green's novel, we follow Paul's downfall as he is torn between his love for Angele, a local prostitute, as he finds out too late, and Madame Grosgeorge's love for him.

Jean-Paul is a Frenchman who yearns to live in communist Czechoslovakia. His wish is granted when, mistaken as a masseur of a French boating team, he manages to elude the democratic authorities long enough to scamper over the Czech border.

Hunters track a wild boar in the Sologne forests

Mado loves Henry but is coveted by Bob Torquella, a dangerous gangster. The latter, mad with jealousy, is prepared to do everything to get rid of Henri. He and his accomplice involve him in a dangerous robbery. Henri is hurt and arrested by the police. But the young man, a weak character, denounces his accomplices. Two years later, the two gangsters run away from prison. Bob finds that Henri and Mado are husband and wife and have a daughter. In a panic, Henri runs for cover.