Michel Fournier

Antoine, a lonely and grumbling chap, lives in a small flat inside a more or less abandoned house in the rear of some outskirts; being slightly disabled -as a child he got accidentally blown up on a war mine-, he cuts himself of from the rest of the world, the only relationship and communication he holds are with his canary bird. Alain, about 30 years old, has no sentimental, professional or family ties. Each of them stays in his own area, one being centrifugal, the other one being centripetal. Chance, or destiny, as may be, will provoke the meeting of these two somewhat special characters. Then, new relations will grow from mere observation to kind affection, from help to curiosity, from friend-ship to suspicion, from empathy to exasperation, and from comprehension to denial. Up to the point where, according to the laws of nature, or mere wickedness -as may be- they come to stupidly destroy each other.

A woman's feminist awakening drives an intellectual couple to a relationship crisis.

Athanor (Nico) is searching for fire. A flame is always at the foreground. Nico naked in tombs, looking at herself in circular mirrors, Nico in castles, keeper of the fire. Nico and Musky as medieval princesses. Athanor is a film about fire.

A young man recalls his affair with a young French woman who traveled with him across the United States. They began to drift apart during the trip, and eventually each had affairs with other people before realizing that their relationship had run its course.

벨벳 언더그라운드의 멤버였던 니코와의 10년의 결혼 기간 중에 만든 7편의 영화 중 첫 번째 영화로 1970년대 가렐의 영화적 실험의 진수를 느낄 수 있는 작품이다. 이집트의 사막, 한 여자가 앉아 “숨을 쉴 수가 없어. 나를 도와줘”라며 울부짖는다. 한 남자가 나타나지만 그는 그녀를 외면하고는 사막의 광대한 거리를 그저 끊임없이 걷기만 한다. 여자는 그를 뒤쫓지만 남자는 계속 멀어져만 간다.

Memory of what belongs to the invention of cinema. the film is a single shot to be shown in any order and size (Normal or scope) made in eight hours with a machine that conceptualizes light.

성경의 알레고리를 느슨하게 차용한 작품으로, 당대를 대표하던 패션모델이자 아티스트, 뮤지션인 주주가 막달레나 마리아로 분하며, 피에르 클레멘티가 예수 역을 맡았다. 감독 자신은 직접 엇나가는 제자로 출연한다. 필립 가렐은 당대의 68운동을 상징하는 인물로서 예수를 ‘궁극의 히피’로 내세운다.

An experimental arrangement of austerely executed but intensely hallucinatory episodes that build into a nightmarish fever of isolation and hopelessness.

La Concentration features an androgynous young man (Jean-Pierre Léaud) and woman (Zouzou), dressed only in their underwear, locked in a room with a bed.

필립 가렐의 초기 무성 실험영화. 4살 난 남자아이와 부모가 심각한 위협에 처해 도망친다. 그러나 정작 그들을 위협하는 존재의 정체는 알려지지 않는다.

Parallel lives of two couples destined to suicide, one, and unhappiness, the other.