Luc Moullet

Le Cinéma selon Luc Moullet is an audio interview with Luc Moullet recorded on 29 January 1979 by Gérard Courant for the magazine Cinéma 79.

Almost all of this episode of the Carnets filmés, with the evocative title, Tout est Brisé is devoted to the misdeeds of the storm of 26 December 1999 on the Bois de Vincennes, whose forest extends at the foot of my building. For several months, I was the cinematographic witness of this disaster which brought down more than half of the 130,000 trees in the Bois.

Luc Moullet, enfin cinématonné? is a fake Cinématon. It is not part of the Cinématon anthology and is therefore catalogued among the Cinématons outside the collection.

Zones césariennes (which covers the year 2002) is one of Gérard Courant's Filmed Notebooks shot on film. These episodes now coexist with their counterparts filmed on videotape. They are two films with parallel lives but opposing destinies, colliding and eyeing each other warily. They represent two approaches, two styles, two different ways of understanding cinema. Two methods for unfolding time, grasping memory, and exploring the world.

No plot available for this movie.

No plot available for this movie.

Tout était clair, the new episode of Gérard Courant's Carnets filmés spends considerable time in Saint-Marcellin, a small town in the Isère region at the foot of the Vercors mountain range, where the filmmaker lived during his childhood, and in Burzet, where, since 1980, he has filmed the Good Friday procession every year. A second part is devoted to a lecture by filmmaker Luc Moullet, who draws a comparison between the two French sports dailies: L'Équipe and Aujourd'hui Sport.

No plot available for this movie.

Carrying on Luc Moullets unfinished screenplay about the theft of la pénélope, a camera created by Aaton and capable of recording equally well in 35 mm and digitally, LA ROUGE ET LA NOIRE is a film in kaleidoscope form. The portrait of Aatons founder, Jean-Pierre Beauviala creator, inter alia, of the time-code and the light cameras used by the New Wave (in particular the bush camera specially designed for Jean Rouch) is centered around the basic plot introduced by two women thieves who talk as voice-overs, and whose identities will only be revealed at the end.

In the fall of 2010, Bozon and co-conspirator Pascale Bodet commandeered the first floor of Paris’s famed Centre Pompidou for 10 days of screenings, lectures and performances that amounted to a counter-canonical history of French cinema. During the ensuing merriment (entitled Beaubourg, la dernière Major !) audience members were invited to observe the daily making of this film, directed by Bozon and written by Axelle Ropert, about an inexperienced young journalist (Laure Marsac) sent to the Pompidou to interview a maverick artistic impresario (Thomas Chabrol). The result is an unexpected love story that is also a record of this landmark exhibition, featuring cameos by Raul Ruiz, Paul Vecchiali, Luc Moullet and more !