Jacques Rivette

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nolanoe
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Re: Jacques Rivette

#1226 Post by nolanoe » Wed Jan 02, 2019 8:33 am

soundchaser wrote:
Mon Oct 15, 2018 8:28 pm
I watched it the other night if you’re looking for an idea on how the restoration came out. It is extraordinarily teal/yellow. The detail is stunning, but the color scheme is basically a disaster. The trailer is not misleading.
It's what I expected after watching that "brown-on-brown" 35mm version a while back.

As for Rivette's writing, I came across a book that contains his unrealized script PHOENIX - it's sadly in french, and as mine is rather shoddy, I fear I have to wait for an english release. Though if anybody is aware what the script is about, I'd love to hear a summary.

Stefan Andersson
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Re: Jacques Rivette

#1227 Post by Stefan Andersson » Wed Jan 02, 2019 3:21 pm

I Googled for Rivette and "Phenix" and found this:

Rivette worked on the film in Summer, 1973, but it was too expensive to produce:
https://en.wikipedia.org/wiki/Jacques_Rivette

"Rivette was also undeniably drawn to the theatrical world of the diva. Prior to conceptualizing Scènes de la vie parallèle, he had envisioned a film entitled Phénix that was to have focused on a reclusive actress who lived in a grand Paris theatre, a role intended for Jeanne Moreau. In his discussion of the film with Hélène Frappat, Rivette recalls: “Phénix came after Out... I had this idea of Sarah Bernhardt meeting the Phantom of the Opera, and immediately I thought of Jeanne Moreau.” (Phénix est venu après Out... j’ai eu cette idée de Sarah Bernhardt rencontrant Le Fantôme de l’Opéra, et aussitôt j’ai pensé à Jeanne Moreau.)29 In collaboration with Eduardo de Gregorio and Suzanne Schiffmann, Rivette drafted the scenario for Phénix, setting forth the story set in the late nineteenth century of a diva named Deborah who he described as “an actress, famous, venerated, and already even a bit mythical, in the image of those legends of the theatre, which for us are evoked by the names Sarah Bernhardt or Eleonora Duse.” (actrice, célebrée, prestigieuse, et déjà même un peu légendaire, à l’image de ces ‘monstres sacrés’ qu’évoquent, pour nous, les noms de Sarah Bernhardt ou Eleonora Duse.)30 Rivette was never able to acquire the funding he required to proceed with his diva film; however, certain qualities of Rivette’s phantom goddesses in Duelle recall those of the diva, who in her finest moments, according to Dalle Vacche, involves “a certain kind of ineffable spirituality, a ritualistic otherness, and an intuitive aura about invisible things.” 31 Sun and moon goddesses in Duelle borrow the diva’s imperious, aristocratic demeanour, her whimsical and at times extravagant dress style, and her superfluous costume changes."

See: http://www.thecine-files.com/wp-content ... format.pdf

A diva surrounded by doubles, admirers and a ghostly lady in white:
https://next.liberation.fr/culture/2002 ... oir_397544


Rivette on Out 1 and Celine and Julie Go Boating:
https://www.bfi.org.uk/news-opinion/sig ... go-boating
The "Phenix" script is briefly mentioned (contains a film within the film):
"I think that Phenix, the script I wrote with Eduardo de Gregorio after Out 1 and haven't been able to film yet, is an attempt to do something halfway between Murnau and Renoir."

"Phenix", with Juliet Berto, was too expensive to produce:
http://www.dvdbeaver.com/rivette/ok/phantomint.html - site dedicated to Rivette

Jonathan Rosenbaum on Out 1 and Celine and Julie Go Boating:
https://www.bfi.org.uk/news-opinion/sig ... go-boating

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furbicide
Joined: Thu Dec 29, 2011 4:52 am

Re: Jacques Rivette

#1228 Post by furbicide » Thu Jan 10, 2019 8:24 pm

I was alerted to this excellent news on Facebook:
Mary Wiles wrote:On behalf of Les Films du Veilleur and my dear friend Véronique Manniez-Rivette, I take great pleasure in announcing [translation from French in brackets]:

"Ce mardi 8 janvier 2019, jour de saint Lucien,
Avec leurs bons vœux pour cette nouvelle année,
LES FILMS DU VEILLEUR
a la joie de vous annoncer l’arrivée de « L’Amour fou » au sein
de son modeste - mais néanmoins fabuleux - catalogue.
[Les Films du Veilleur takes great pleasure in announcing the appearance of "L'Amour fou" within its modest-but nonetheless fabulous--catalogue!!]
Au programme de cette année:
[The following restorations will be featured on the programme this year:]
« L’Amour fou »,
« Haut Bas fragile » et « Secret Défense »
L’édition DVD/Blu-Ray de Jeanne la Pucelle, les batailles / les prisons
et
L’édition Blu-ray, la réédition DVD, de « La Bande des quatre »,
« La Belle Noiseuse »,
« Haut Bas Fragile »,
« Secret Défense »
au bon soin des éditions POTEMKINE"
And in the comments on the post:
Mary Wiles wrote:I will simply quote Veronique Manniez-Rivette's response to me about subtitles: "À ma connaissance, tous les films de Jacques en circulation possèdent des copies avec sous-titres anglais. Tous les films numérisés en disposent. Il doit exister une copie VOSTA de « L’Amour fou » en 35 mm." So, in effect, we can expect English subtitles.

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soundchaser
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Re: Jacques Rivette

#1229 Post by soundchaser » Thu Jan 10, 2019 8:32 pm

Oh yes, please. I'll re-buy all of these day 1 if that subtitles comment is true (and probably L'amour fou even if it isn't). Are these the Cohen restorations?

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senseabove
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Re: Jacques Rivette

#1230 Post by senseabove » Thu Jan 10, 2019 8:56 pm

Wonderful news! Having just watched Out 1 over the break, I'm wanting to work my way through other Rivette and I've been trying to hunt down Haut Bas Fragile based on what I've been reading about his other works, but can't even find an SD source.

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domino harvey
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Re: Jacques Rivette

#1231 Post by domino harvey » Thu Jan 10, 2019 9:21 pm

I think there's a Japanese DVD and def fanmade English subs circulating for whatever the source is. It and Secret Defense are among his best, so it's nice that someone's finally getting around to more of his good films

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soundchaser
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Re: Jacques Rivette

#1232 Post by soundchaser » Thu Jan 10, 2019 9:38 pm

Gang of Four is no slouch either - I think it's my second-favorite after HBF. Honestly, though, there's not a bad film in this list. I don't like Jeanne as much as the others, but it's still well worth a viewing.

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senseabove
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Re: Jacques Rivette

#1233 Post by senseabove » Thu Jan 10, 2019 9:56 pm

Thanks for the JP DVD heads up, but now that I know a BD is forthcoming, however far off, I'll probably wait for that, or a film or free option in the meantime. I'm just surprised I can't even find it through less-than-legal sources! Maybe I should order it, though—clicking buy would probably make the local cinematheque instantly program it.

And I didn't even notice Gang of Four was there because of the way it's spaced!

I assume this was posted to someone's personal FB account, not a publicly linkable post?

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furbicide
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Re: Jacques Rivette

#1234 Post by furbicide » Thu Jan 10, 2019 10:01 pm

Yeah, personal account but the post is publicly available. Wiles is apparently a friend of Jacques' widow.

https://www.facebook.com/photo.php?fbid ... =3&theater

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domino harvey
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Re: Jacques Rivette

#1235 Post by domino harvey » Thu Jan 10, 2019 10:03 pm

soundchaser wrote:
Thu Jan 10, 2019 9:38 pm
Gang of Four is no slouch either - I think it's my second-favorite after HBF. Honestly, though, there's not a bad film in this list. I don't like Jeanne as much as the others, but it's still well worth a viewing.
I completely missed that one in the list (EDIT: And I see I wasn't the only one)! Nice, this will take care of all the Rivette I need on Blu-ray

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senseabove
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Re: Jacques Rivette

#1236 Post by senseabove » Thu Jan 10, 2019 10:09 pm

furbicide wrote:
Thu Jan 10, 2019 10:01 pm
Yeah, personal account but the post is publicly available. Wiles is apparently a friend of Jacques' widow.

https://www.facebook.com/photo.php?fbid ... =3&theater
Sorry, this content isn't available right now
The link you followed may have expired, or the page may only be visible to an audience you're not in.

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furbicide
Joined: Thu Dec 29, 2011 4:52 am

Re: Jacques Rivette

#1237 Post by furbicide » Thu Jan 10, 2019 10:10 pm

Right, sorry about that. Maybe I could see it because I'm Facebook friends with some of the people tagged in the post. :oops: Anyway, I've copied and pasted the full text of it.

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senseabove
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Re: Jacques Rivette

#1238 Post by senseabove » Thu Jan 10, 2019 10:14 pm

furbicide wrote:
Thu Jan 10, 2019 10:10 pm
Right, sorry about that. Maybe I could see it because I'm Facebook friends with some of the people tagged in the post. :oops: Anyway, I've copied and pasted the full text of it.
All good, and thanks for that :) I look forward to more official news from Potemkine!

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Michael Kerpan
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Re: Jacques Rivette

#1239 Post by Michael Kerpan » Thu Jan 10, 2019 10:15 pm

Awesome news. Love all these films!

Gang of Four was the second Rivette I saw (and first I bought on DVD because it starred Bulle Ogier -- and was available after I saw my first Rivette, Va Savoir).

I just requested permission to join the Rivette group on FB. ;-)

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justeleblanc
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Re: Jacques Rivette

#1240 Post by justeleblanc » Sun Jan 20, 2019 7:55 pm

So just to sum up this news... Potemkine will be releasing a number of newly restored Rivette titles onto Blu ray, including the very rare L'Amour fou. Should this then be moved to the Potemkine thread? And are there any other links at the moment other than the facebook page?

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furbicide
Joined: Thu Dec 29, 2011 4:52 am

Re: Jacques Rivette

#1241 Post by furbicide » Sun Jan 20, 2019 10:47 pm

No other corroboration that I can find so far (and I looked pretty hard at the time!). My impression is that L'amour fou is only getting a remastered theatrical/festival run (perhaps with an eye to a blu-ray release down the track) alongside Up Down Fragile and Secret défense and that the latter two as well as La Belle Noiseuse, Gang of Four and the two parts of Jeanne la Pucelle are all getting DVD + Blu-ray releases in 2019 (I couldn't quite work out why Jeanne la Pucelle is on a different line in Mary's post).

nolanoe
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Re: Jacques Rivette

#1242 Post by nolanoe » Wed Apr 03, 2019 11:10 am

Very, VERY happy to read these news!!

Calvin
Joined: Sun Apr 10, 2011 11:12 am

Re: Jacques Rivette

#1243 Post by Calvin » Sat May 11, 2019 7:17 pm

In response to a comment on DVDBeaver's facebook post about The Nun, Adrian Martin has said that L'amour fou is 'forthcoming'.

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ianthemovie
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Re: Jacques Rivette

#1244 Post by ianthemovie » Tue Jun 18, 2019 5:25 pm

Not sure if this is the right place to post this or if it's been mentioned elsewhere, but a stand-alone Blu-ray edition of Out 1 (with both cuts) is now available from Arrow. It's a great option for those (like myself) who aren't interested in owning other films from the Arrow box set and who also don't want to waste shelf space on the unwieldy dual-format edition from Carlotta. Affordable, too.

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knives
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Re: Jacques Rivette

#1245 Post by knives » Tue Jun 18, 2019 5:28 pm

But the other films, well two of them, are better?

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ianthemovie
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Re: Jacques Rivette

#1246 Post by ianthemovie » Tue Jun 18, 2019 5:45 pm

Not in my view :D But for those who feel that way, there's always the other Arrow box set with just Duelle, Noroit, and Merry Go Round!

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Fiery Angel
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Re: Jacques Rivette

#1247 Post by Fiery Angel » Thu Jul 11, 2019 4:21 pm

Both parts of Joan the Maid (4K restorations) are opening on August 2 at the Quad in NYC.

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soundchaser
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Re: Jacques Rivette

#1248 Post by soundchaser » Thu Jul 11, 2019 5:22 pm

Wish I could be in New York! And I hope this means some forward motion on the Blu-Rays (although I think the Gang of Four restoration premiered a few years ago? Wonder what the holdup is.)

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senseabove
Joined: Wed Dec 02, 2015 3:07 am

Re: Jacques Rivette

#1249 Post by senseabove » Thu Jul 11, 2019 6:39 pm

soundchaser wrote:
Thu Jul 11, 2019 5:22 pm
(although I think the Gang of Four restoration premiered a few years ago? Wonder what the holdup is.)
That's unfortunate... I'm missing a screening near me in a few weeks, and I was consoling myself with the hope that the Cohen release would come out soon.

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soundchaser
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Re: Jacques Rivette

#1250 Post by soundchaser » Thu Jul 25, 2019 10:23 pm

I don't know if it's ok to post this here, but I've recently finished a translation of the lengthy interview with Rivette at the beginning of the Cahiers-published Three Phantom Films, the book about his unfinished films, which I've been slowly working through. I thought several posters here whose French is even rustier than mine may appreciate the info, some of which I don't think has been published in any English source. I'm working on the rest of the book as well, at a very languid pace (whenever I get time at work), and I'll be happy to update anyone interested on my progress. Mods, please let me know if this is teetering on the edge of copyright violation, and I'll happily remove it.
Instruction Manual
by Helene Frappat and Jacques Rivette


Year II, Phoenix, Marie and Julien: are these three projects that have never seen the light of day phantom films?

One could call them that: those are unrealized projects, interrupted at various stages of their development. Every filmmaker, of course, is in the same situation: it’s the common law of cinema, more than in other modes of expression. Compared to most, I have to consider myself lucky: of these unsuccessful projects, I have only three. Of course, between each of my films, I’ve dreamed about the projects that have remained in a nebulous state. For example, after L’Amour fou, I’d had the idea to make a film about a group of ten young men and women, in a provincial university town, a really Southern town like Aix-En-Provence: they’re used to being in the same places, between them there’s all sorts of intrigue, insignificant or tragic, some leave the city, others get married...We followed this group until three or four years later: theoretically, it’s always the same group, but, in fact, all the original members of the group have disappeared, the meeting points are not the same, the daily rituals, the secret codes have changed. There was as a common thread a very Chekhovian fantasy, a side very much “Paris Does Not Belong to Us”. This was at the end of ‘68, beginning of ‘69: I had the feeling that I was too far removed from my provincial adolescence; I was already too old and too Parisian, and I was afraid of making something false. So this project remained completely in my head, I never wrote a word of it, but it very quickly had a specific title: Out.

Well.

Close parentheses around Out Zero. By contrast, the three projects that I actually tried to bring about are, in order: Year II, between Paris Belongs to Us and The Nun; then Phoenix, between Out and Celine and Julie; and finally Marie and Julien, which was supposed to be the first film (and the third filming) of “Scenes from a Parallel Life,” ex-“Filles du feu.”*

Didn’t you also try to adapt Jean-Jacques Rousseau’s Confessions?

That’s a project that dates to after L’Amour fou. Initially, it was an idea had by Beauregard and Gruralt, which was to take Rousseau at the end of his life, after the Confessions (he would have been played by Romain Weingarten), and there would have been flashbacks of the young Rousseau, played by Jean-Pierre Léaud. This project didn’t get very far, insofar as Beauregard did not have the means to finance it. I can’t rank it among those I regret because, after The Nun, I didn’t much like the idea of redoing an eighteenth-century costume film. I had already refused to make The Taking of Power by Louis XIV, another of Gruralt’s projects, which Jean and his producer at that time offered me: I refused the idea of diving back into a costume film. And I was right, because Rosselini made it ten thousand times better than me!

So let’s get back to the first of your three substantial projects, or of your three phantom films.

Year II is likewise, in the beginning, one of Jean’s projects, and moreover, once finished, the synopsis was much more his than mine. During the editing of Paris Belongs to Us, Jean often dropped in to see us. I remember that one day, he brought me his stage adaptation of The Nun, adding that it would be more a project for the cinema. I responded that it was indeed a great subject for a film, but that we would never be able to convince a producer. A few months later, we met up again; in the meantime, he came across the Memoirs of Madame de la Rochejaquelein, which gave him this idea for a film about the end of the Chouannerie: it pleased me right away. As far as I remember, we wrote it very quickly, in a few weeks, the two of us, between June and July ‘60. I went to see the two or three producers that I knew, Braunberger, Dauman, one or two beginners...it was total refusal, without even a word: they all seemed to think it was the most stupid project ever presented to them! Then Breathless came out, and Beauregard told Jean-Luc to bring him all of his friends. So I met Beauregard with this undying project Year II. A few days later, when I went back to see him, it was the same thing. But, at the same time, he very kindly told me: “I don’t want to do that one, but there’s no lack of projects. Look, two days ago, I reread The Nun, it would make a great movie!” -- the beginning of another long adventure.

Why did all the producers react so cagily when faced with this project Year II?

It scared them, they were all terrified! They looked at me as if this project had fallen from I don’t know what planet...Saturn!

Did Phoenix come from the same planet?

It’s very possible: in effect, Phoenix came after Out, another monstrous film, never released, which no television network wanted...I don’t remember the initial idea, possibly sparked by the last two episodes of Out, where the fantastic gradually contaminates the “real” world: soon enough, I had this idea of Sarah Berhnardt meets The Phantom of the Opera, and I immediately thought of Jeanne Moreau; and then I started talking about it with Eduardo de Gregorio, with Suzanne Schiffman...one morning, the telephone rings: it’s Jeanne, who proposed that I direct Phèdre, with her, in the theater. I told her that I was just in the middle of writing a script with her in mind, she immediately replied to me: “Ah! If it’s a film, then I’d prefer it.” There was never another question about Phèdre...during the editing of Out, the resemblance of Juliet to Jeanne, in some close-ups, struck us, Nicole [Lubtchansky] and I: and that resemblance became the engine for the whole script. Ultimately, to succeed in drawing up this nuisance, which we needed to present to the Commission of “Avance sur Recettes” and the eventual producers, we all three found ourselves one morning at Suzanne’s around a tape recorder, and we told each other the whole story from the first shot to the last, in the most detail possible; it’s from this tape that I wrote the scenario. It’s the last writing I ever did.

Why wasn’t Phoenix ever made?

We had the maximum “Avance sur Recettes”, and a co-production agreement with the most prominent channel of the time. The problem is that I absolutely did not want to repeat the experience of The Nun, a costume film made on a shoestring; I wanted everything to be very beautiful. It was absolutely necessary to build the main set of Deborah’s apartment, the costumes had to be magnificent; and the whole film had to play with ever-changing lights. With Suzanne, we’d made up an estimate: for the film to make sense, we couldn’t go below it. But the advance and the television only accounted for half of this budget, and I didn’t find a single producer who agreed to set off on the adventure: the only one who showed benevolence with regard to the project is Jean-Pierre Rassam, already neck-deep, that summer of ‘73, in two very expensive projects: Bresson’s Lancelot and Ferreri’s Custer-Trou des Halles**. He allowed me to use his production house for all the preliminary work: he “hosted” our project; but he could not go any further, he had told me from day one.

How was the project Marie and Julien born?

Initially, there was this crazy idea to chain together four shootings. The few pages for which we’d gotten an advance were devoted specifically to the themes, more or less mythical, which were to link the four films, each of them also fitting into a traditional genre (love story, thriller, western, musical). We started with number two (Duelle), then we went on a month later with number three (Noroît). These two shootings, each in its own way, had been exhausting, but I had been caught in a trap of my own making: it was materially impossible to back out of shooting the third film. As best as I could, I pretended for two days; on the third I vanished, and the doctor from the insurance company put an end to this simulacrum. No complete scenario was ever written: during the three weeks of preparation (and in parallel with the scoutings and the choice of the other actors), all the preliminary work on our story was kept to the conversations that we had, every afternoon, Leslie Caron, Albert Finney, Claire Denis and I, conversations from which Claire wrote this skeleton of continuity, which allowed us to establish the workflow, and which is all that remains today of the project (with rushes of the two days of filming - sequence 35, around a telephone booth -, which remain to this day impossible to locate).
The principal motif was a variation of the old romantic theme of “la morte amoureuse,”*** who must be loved by a mortal to try to lift the curse forbidding her from the land of the dead. The other ambition of the project was to tell a story of amour fou between a man and a woman in their forties: At Long Last Love, as Cole Porter said. But we hesitated between several endings and were counting on the filming to decide. Today, twenty-six years later, I am, unfortunately, unable to reconstruct an ending: the reader will choose one according to his mood at the moment.

It’s strange to note that Marie and Julien is, of the three phantom films, the one that was closest to seeing the light of day, and at the same time the one that exists in the least complete state.

There must be a reason: the laws of the world of phantoms escape us.

* The project of the series “Les Filles du Feu” consisted of four films: a “love story” (Marie and Julien), a fantasy film (Duelle), a sort of Western (Noroît), and a musical comedy. Only two films have been made: the 2nd, Duelle, and the 3rd, Noroît, shot at the beginning and the end of spring 1975, and assembled the following year.
** Marco Ferreri’s Don’t Touch the White Woman! (1974)
*** Translation note: “La Morte Amoureuse” literally translates to “the dead (woman) in love,” but it is also the title of a well-known French short story. As the original work presents this phrase in quotes, I’ve opted to leave it untranslated to preserve the potential allusion.

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