Philippe Grandrieux

Uma comissão da FICUNAM para quatro diretores, Liminal busca brincar com as afinidades poéticas entre o cinema e a música. Movendo-se entre diferenças estéticas e geracionais, os cineastas exploram essa relação por meio de quatro histórias distintas quanto ao contexto e ao imaginário.

Uma comissão da FICUNAM para quatro diretores, Liminal busca brincar com as afinidades poéticas entre o cinema e a música. Movendo-se entre diferenças estéticas e geracionais, os cineastas exploram essa relação por meio de quatro histórias distintas quanto ao contexto e ao imaginário.

Philippe Grandrieux evokes the obsessive relationship between two women whose existence is kept by a lugubrious voice and by Alan Vega’s and Marc Hurtado’s famous Saturn Drive Duplex.

Uma comissão da FICUNAM para quatro diretores, Liminal busca brincar com as afinidades poéticas entre o cinema e a música. Movendo-se entre diferenças estéticas e geracionais, os cineastas exploram essa relação por meio de quatro histórias distintas quanto ao contexto e ao imaginário.

Uma comissão da FICUNAM para quatro diretores, Liminal busca brincar com as afinidades poéticas entre o cinema e a música. Movendo-se entre diferenças estéticas e geracionais, os cineastas exploram essa relação por meio de quatro histórias distintas quanto ao contexto e ao imaginário.

An installation presented on 11 screens featuring nude human figures engaged in cathartic performance.

An Irish filmmaker grapples with the legacy of his estranged father, the late documentarian Arthur MacCaig, through MacCaig's decades-spanning archive of the conflict in Northern Ireland. Drawing on over 30 years of unique and never-seen-before footage, 'The Image You Missed' is an experimental essay film that weaves together a history of the Northern Irish 'Troubles' with the story of a son's search for his father. In the process, the film creates a candid encounter between two filmmakers born into different political moments, revealing their contrasting experiences of Irish nationalism, the role of images in social struggle, and the competing claims of personal and political responsibility.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

Lenz deixa a Inglaterra e volta a Paris em busca da Madeleine, que desapareceu em circunstâncias incertas. Ele conhece Helena, uma enfermeira que ainda sofre com a perda de seu filho. Começa assim uma história de amor febril em meio à tristeza, paixão, ciúmes e autodestruição.

Lenz deixa a Inglaterra e volta a Paris em busca da Madeleine, que desapareceu em circunstâncias incertas. Ele conhece Helena, uma enfermeira que ainda sofre com a perda de seu filho. Começa assim uma história de amor febril em meio à tristeza, paixão, ciúmes e autodestruição.

Lenz deixa a Inglaterra e volta a Paris em busca da Madeleine, que desapareceu em circunstâncias incertas. Ele conhece Helena, uma enfermeira que ainda sofre com a perda de seu filho. Começa assim uma história de amor febril em meio à tristeza, paixão, ciúmes e autodestruição.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

Where do images come from? This disturbing and essential question is posed by Philippe Grandrieux, and he already imposed it on himself the start, via Sombre (1999) up to the portrait recently devoted to Masao Adachi (FID 2011). From where, then? Maybe from the depths behind our eyes, ungraspable visions, night in suspension, promise of the end of an eclipse, between dream and nightmare. This is the start (and in truth the programme) of White Epilepsy. In a darkness barely broken by light, a mass advances: a nude back, in a long shot entirely centred on the shoulders.

The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.

The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.

The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.

The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.

The action unfolds in a country about which we know nothing, a land of snow and forests, somewhere in the North. A family lives in an isolated house near a lake. Alexi, a young, pure-hearted man, is a woodcutter. Occasionally suffering from epileptic seizures and overcome by an ecstatic state, he is one with the nature around him. Alexi is very close to his younger sister, Hege. Their blind mother, father, and younger brother, silently observe this uncontrollable love. One day a stranger arrives, a young man slightly older than Alexi.

The action unfolds in a country about which we know nothing, a land of snow and forests, somewhere in the North. A family lives in an isolated house near a lake. Alexi, a young, pure-hearted man, is a woodcutter. Occasionally suffering from epileptic seizures and overcome by an ecstatic state, he is one with the nature around him. Alexi is very close to his younger sister, Hege. Their blind mother, father, and younger brother, silently observe this uncontrollable love. One day a stranger arrives, a young man slightly older than Alexi.

The action unfolds in a country about which we know nothing, a land of snow and forests, somewhere in the North. A family lives in an isolated house near a lake. Alexi, a young, pure-hearted man, is a woodcutter. Occasionally suffering from epileptic seizures and overcome by an ecstatic state, he is one with the nature around him. Alexi is very close to his younger sister, Hege. Their blind mother, father, and younger brother, silently observe this uncontrollable love. One day a stranger arrives, a young man slightly older than Alexi.

Inspired by the dominant motif of the novel by the great Austrian writer Adalbert Stifter, "L’Arrière-saison" is a diptych about roses.

A young American falls obsessively in love with a mysterious courtesan named Melania against the backdrop of a dilapidated Eastern European landscape.

A young American falls obsessively in love with a mysterious courtesan named Melania against the backdrop of a dilapidated Eastern European landscape.

A serial killer stalks a woman he befriended after her car broke down.

A serial killer stalks a woman he befriended after her car broke down.

A week after the Dayton accords, Phillipe Grandrieux visits Sarajevo accompanied by Sada, a Bosnian who is returning home after four years of exile.

A week after the Dayton accords, Phillipe Grandrieux visits Sarajevo accompanied by Sada, a Bosnian who is returning home after four years of exile.

A week after the Dayton accords, Phillipe Grandrieux visits Sarajevo accompanied by Sada, a Bosnian who is returning home after four years of exile.

Portrait made for the magazine Brut.

Portrait of a popular game in Brazil

Les équilibristes, a film by Nico Papatakis with Michel Piccoli, inspired by Jean Genet, was broadcast in two parts on October 11 and 18, 1991, on the Sept. It was on this occasion that Philippe Grandrieux directed this short film for the Seven antenna, consisting of an interview with Nico Papatakis and the reading of excerpts from Jean Genet's text, “The Tightrope walker”, read by the actress Ann-Gisel Glass.

Les équilibristes, a film by Nico Papatakis with Michel Piccoli, inspired by Jean Genet, was broadcast in two parts on October 11 and 18, 1991, on the Sept. It was on this occasion that Philippe Grandrieux directed this short film for the Seven antenna, consisting of an interview with Nico Papatakis and the reading of excerpts from Jean Genet's text, “The Tightrope walker”, read by the actress Ann-Gisel Glass.

Third part of an experimental television program led by Grandrieux questionning TV flux aesthetic, this film focuses on a single interview with Jean-Louis Schefer who delivers his hypothesis on man-made images of itself.

For a series of programs made for TV Fnac, Philippe Grandrieux meets different people who tell us, each in their own point of view, a story of images. After Paul Virilio (The World is an image) and before Jean-Louis Schaeffet, Le Trou noir (AKA The Black Hole) gives us the enlightened reflections of psychanalyst Juan David Nasio about real and reality.

Jim is a small child who lives in an inn run by his parents. The arrival of a strange captain to the Island they live will trouble his existence and tip him into an universe of adventures.

Extract from the program "Juste une image" produced by Thierry Garrel and directed by Philippe Grandrieux.

A handheld video camera explores image-surfaces as a visual collective unconscious: a TV screen, Polaroids, photos. A conceptually and formally compelling film about the idea of change, the loss of a revolution, the defying memory of the 70s decade.

Commissioned for the French television series Regards Entendus, La peinture cubiste is a multilayered, elusive investigation of the perception of reality and representation through cinema, painting and video. Unfolding as an evocative, implied fictional narrative, this work was suggested by a Jean Paulhan text in which a man experiences and perceives everyday life as though in the multifaceted space of a Cubist painting. Alternating between film and video, Kuntzel and Grandrieux explore physical and psychical perception, constructing an analogy between the way video transforms conventional filmic representation and the way Cubism fractured the perspectival codes of classical pictorial space. Shifting between abstraction and materiality, the real and the imaginary, this work suggests passages between painting, cinema and video.