Fabrice Du Weltzsingular filmmaker, distinguished himself for his horror trilogy called ” Ardennes trilogy “, which consists of the films ” Calvary ” (2004), ” Alleluia » (2014) and « Worship (2019).
When we talk to him about genre cinema, he pouts and loses his temper:
The cinema of the French New Wave, carried by former editors of the review of ” Cinema notebooks in the 1950s, had François Truffaut and Jean-Luc Godard as their main gurus, and the author with a capital A as their dogma. same title as the other members of a technical team, that he did not have the “Director’s cut” (he had no say in the final cut) and that cinema was considered an industry and in no case as an art. Fabrice Du Weltz would perhaps not have been knighted by the purists of auteur cinema, but he alerts us to a current drift, dangerous in his eyes, which tends more and more to consider a film as a simple product, A content ” :
Fortunately, this practice of erasing the author does not prevail on the antennas of the Canal+ group 🙂 where, whether it is a film or a series, the director is always indicated in the technical sheet. However, this rant from the Belgian director is not without foundation. It does not cost much to add a credit, absolutely natural, and which, for the most movie lovers among us, can determine a choice of viewing.
To make a small digression, why not also indicate in these technical sheets of the platforms, the names of personalities closely linked to the specificity of certain films? One can think of the collaboration between Alfred Hitchcock and the musician Bernard Hermann (the shower scene of ” Psychosis owes him a lot!), that of Jacques Demy and Michel Legrand (Jacque Degrand and Michel Lemy!)? To our knowledge, only British filmmaker Michael Powell (who had his heyday in the 1940s and 1950s) insisted on associating his own name in the credits of his films with that of his screenwriter Emeric Pressburger. The latter, with a German-sounding surname, was in fact of Hungarian origin, but at a time when everything that sounded German had bad press, it was a militant act. Didn’t these two pacifists make a film in the middle of the world war (1943) on friendship between peoples, including in times of war, in the magnificent “ Colonel Blimp »? A film proudly signed “Powell & Pressburger”!
As we write, we are a few days away from the kick-off of the 75th edition of the Cannes Film Festival, a flagship festival in the eyes of the whole world, where connoisseurs talk about a film by evoking the name of its director, too unpronounceable though it is (little exercise, pronounce three times in a row the name of the Thai director, double palme d’or, Apichatpong Weerasethakul, without getting tangled up!).
In an auction, what would a Picasso, a Van Gogh, a Jeff Koons be worth without the name of its author associated with it? Let’s meditate on this and work for a just tribe, very inexpensive indeed, and give credit where credit is due!
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Towards an inexorable erasure of the author in the cinema? | myCANAL