Pierre Clémenti
In 1972, disenchanted about the dreary conventions of English life, 25-year-old Julia heads for Morocco with her daughters, six-year-old Lucy and precocious eight-year-old Bea.
Actors in August Strindberg's "Inferno" have a philosophical discussion.
Last days of queen Marie Antoinette stunningly portrayed by a director who's clearly done a massive historical research. An accurate plot and a very moving rendering.
Another planet in the period of medieval times. An employee of the institute of experimental history from Earth, who is send under the name of noble don Rumata of Estor as a spy with a mission to contact the local resident of the institute, arrives in the city of Arkanar. But the resident perishes under an unlucky attempt to make a palace coup, and Rumata have to take his place as the resident. Soon he meets all the horrors of the medieval society - a peasant war, palace coups, mass executions. To continue to be an indifferent watcher of all these horrors turns out to be simply impossible...
300 kilos of heroin have disappeared in Necrocity, a city of terror—city of night—where Captain Speed has a gang, and the government hides the dead. Pierre Clémenti’s In the Shadow of the Blue Rascal (À l’ombre de la canaille bleue) is an experimental crime film considered to be a landmark of Parisian underground cinema.
Patrik Pacard was the sixth ZDF-Weihnachtsserie, and aired in 1984. The series was broadcast in Germany on ZDF, and consisted of 6 episodes. Broadcasting in Germany began on December 25, 1984. The series was also broadcast in Switzerland, and constisted of 12 episodes. Broadcasting in Switzerland began on December 4, 1984. An English-language version of this series was shown by the BBC in the United Kingdom in 1992, and repeated in 1995, though with a revised plot to reflect the end of the Cold War. A French-language version of this series was broadcast as well. The shows titular character and theme song are incorporated in an internet meme on YTMND in relation to an alter-ego of Star Trek's Jean-Luc Picard.
A mad scientist, Dr. Lerne, performs organ transplants not only between humans and animals, but also with plants and even machines ...
Edith runs a left-wing journal and when her marriage starts to fall apart (her husband is unfaithful), she can find no solace in her son who is more of a problem than an asset. On top of heading toward a divorce and being unable to handle her son's asocial tendencies, her neurotic uncle moves in, demanding personalized care. Just to keep her sanity intact, Edith starts writing in her diary to vent her own feelings and ambitions. As her son goes from bad to worse over a five-year period, it turns out that Edith's diary may be of more benefit than she could have ever imagined. In this adaptation of Edith's Diary by Patricia Highsmith, director and writer Hans W. Geissendoerfer has maintained Highsmith's psychologically tormented characters while changing the location and time of her story from the U.S. of the 1960s to Germany in the early 1980s.
Although there are women in the lives of the three main protagonists -- a middle-aged architect, his construction designer, and a journalist -- the women are not as crucial to the men's search for an identity as the title might suggest. When the three men run into a former professor of the architect and designer, they are inspired by his fanfare and expansive nature. Still in search of solutions to their particular problems, the men head out to visit the professor and get to the bottom of their own issues. Unfortunately, the professor turns out to be more "loco" than otherwise, and the three men watch their hopes burst like a popped balloon -- it seems like their ability to assess human character should now be added to their list of problem spots.
Passionate about music, Julien nevertheless works with a sculptor. One day, he meets young Hermine at a religious bookseller.
Marie, is just out from prison when she runs into Baptiste a young paranoid needing companionship. In their pursuit of a mysterious briefcase carried by Marie's former lover, they roam the street of Paris, transformed into a giant board game, a maze spotted with mysterious traps, puzzling clues, and chance encounters. Maybe they are bricks in some sinister scheme, maybe they are playing a board game, maybe it's a fairy tale, maybe it's yet something else...
A rich business man falls for a young girl and vows to fulfill her dream of becoming a punk rock star.
A troubled young woman who lives alone in a rundown house meanders around and one day reveals a hidden talent when she goes into a bar, plays magnificently at the piano, and leaves as mysteriously as she came. Meanwhile, an unidentified man is on her trail and eventually tracks her down to the bar she had visited. As the dragnet around her closes in, it becomes apparent that the young woman's stepmother is behind the effort to locate her. But questions over why she is hiding out and what she is hiding from begin to take on more importance as the history of the young woman starts to surface.
In a desolated world, a martyr is steered by a man giving orders from a control room. His henchmen torture the resistance fighter. Are the parts played by victim and hangman defined as clearly as it seems? Ange Leccia offers a political reflection about the power of images and their manipulative force. —ubu.com
"Chronicles of the Present Times" - An experimental trilogy comprising 'Visa De Censure No.X', 'Livre De Famille' and 'Anima Mundi'. New Old flows together footage from more than a decade of his wandering between scenes, sets, and drugs, an accelerated world tour through various iterations of the counterculture.
Eva is a singer in a Noah's Ark themed nightclub, where the guests wear animal masks. She sings about a doomed love affair between a lion tamer and a lion. She is approached by a stranger who claims to know her and to remember her singing Mozart which she denies. Driven around in her midget manager´s limousine she encounters bizarre characters who turn out to belong to her incestuous family of ogres. All culminates in a bizarre finale in a zoo featuring Klaus Kinski and arias from "The Magic Flute". Stylish, surrealistic and weird, but you will scratch your head and ask yourself what it´s all about (and why you should bother).
A writer returns home to his estate after service in World War I. He has developed a very bad case of depression due to a war wound concerning his genitalia. He contemplates suicide, but recovers after becoming interested in his caretaker's 12 year-old war orphan niece, who now lives in the manor.
Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.
First of all, "La chanson de Roland" is a great film. But, unfortunately, it's quite an unknown one. Unlike other "medieval" films (e.g. Anthony Mann's "El Cid") there's no "sword-battle-american-pulp-shit" stuff, but a hard intellectual effort in order to offer us a realistic version of the European Middle Ages.
A thriller in which the characters are Latin-American exiles living in Paris. It is also a comedy about artists who play at revolution rather than actually participate in one
A document of the mental universe of a schizophrenic, played by an actor.
Pierre, a young man of Brussels, has lost his job. Unbeknowst to Barbara, the woman he lives with, he has become a pickpocket to survive. He works in partnership with a young Tunisian immigrant he meets every Sunday in an abandoned bus where they share the loot of the week. One day, Pierre finds his accomplice dead in their hiding place. Pierre suddenly realizes that he does not know much about his dead friend. Taking possession of his identity papers, Pierre decides to go to Tunisia to find out who his friend actually was.
Shot in 1967 but not released until 1975, actor Pierre Clémenti’s acid-infused experimental whirlwind of colour and music featuring a who’s who of the French 60s underground.
In the bourgeois circles of Europe after the Great War, can anything save the modern man? Harry Haller, a solitary intellectual, has all his life feared his dual nature of being human and being a beast. He's decided to die on his 50th birthday, which is soon. He's rescued from his solipsism by the mysterious Hermine, who takes him dancing, introduces him to jazz and to the beautiful and whimsical Maria, and guides him into the hallucinations of the Magic Theater, which seem to take him into Hell. Can humour, sin, and derision lead to salvation?
The winner of the Miss World Virginity contest marries, escapes from her masochistic husband and ends up involved in a world of debauchery.
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.
30 year old child enters the new city, riding on a donkey. He says he is the Savior. He has spent no time among men. He is trembling with cold. His clothes are soaked. His mother was overprotective ; his father conspicuously absent. He knows that he must face the mockery, refusal, ignorance and blindness of the men around him. They travel in gangs, in large numbers : soldiers, mercenaries or the like, on majestic, imposing horses. Everything is out of proportion to his thin, bewildered, innocent body ; he is the madman of the new city...
Stefano Argenti, an ambitious advertising executive, meets a curious hippie named Count Mateo Tiepolo and they form a strange bond. Having gained Stefano's confidence, Tiepolo reveals that he wants to kill his domineering brother. He suggests that Stefano carry out the killing and in exchange he offers to murder Luisa, Stefano's wife who is a barrier to his career and his affair with Fabienne, a model. Argenti is more curious than shocked but decides to reject the bizarre offer. However, a short-time later, his wife is strangled to death by an intruder and he becomes the prime suspect. By withholding evidence that could prove his innocence. Mateo blackmails Stefano into keeping his part of the bargain. But there is a twist ...
Barbara (Monica Vitti) is a journalist investigating the local counterculture who becomes involved, after an unpleasant start of battery and stalking, with Pierre Clémenti's louche all-around dropout.
On the streets of a damp metropolis lie the corpses of hundreds and hundreds of boys and girls. No one can give them a resting place because of a law enacted by a repressive State. But the young Antigone, with the help of a foreigner, Tiresias, violates this rule in the name of pietas, undermining the established order.
A year and a half after "Le Lit e la vierge", Zouzou and Pierre Clémenti are in another bed, this time in front of a window, with Sacré-Coeur in the background. Filmed in two days, in July 1970, with a stolen film from the ORTF, this film, a tribute to these two vedettes of the French underground, is of immense beauty. The title is inspired by the silhouette of Pierre Clémenti, evocative, for Lagrange, of the male physicist during the Renaissance. Grandson of Léo Lagrange and nephew of the chief operator Ghislain Cloquet, Yvan Lagrange is two years younger than Philippe Garrel. "Renaissance", his first film, shows to what extent his generation was influenced by Garrel.
In a castle, somewhere in the Thirld World, Diaz is delirious, dreaming of the power he had in Eldorado, while oppressing the indians, workers and peasants. He is well aware of the menace his old victims represent, while a miracle-making shepherd fascinates and frightens him. Diaz finds a countrywoman, symbol of purity, and prepares a ceremony in his castle resembling his own funeral. - IMDb
A surreal and disturbing distillation of Western Civilization, Necropolis is the unhinged vision of Italian director Franco Brocani. Pierre Clémenti is Attila the Hun, naked and on horseback, while Warhol superstar Viva is a drunken and abusive Countess Bathory. A pop pastiche for the psychedelic generation, Necropolis features a soundtrack by Gavin Bryars.
A weak-willed Italian man becomes a fascist flunky who goes abroad to arrange the assassination of his old teacher, now a political dissident.
Two drifters go on a pilgrimage from France to Santiago de Compostela in Spain. Along the way, they hitchhike, beg for food, and face the Christian dogmas and heresies from different Ages.
A Brechtian thriller about an intellectual's transformation into a street-fighting man.
Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son of a post-war German industrialist, is on the way to lie down with his farm's pigs, because he doesn't like human relationships.
Half family photo album, half ciné-tract, the film was shot in Paris during the events of May ‘68 and in Rome where the actor was featuring in the film Partner by Bertolucci. Rediscovered in a basement in 1999, this silent film appears to be one of Clémenti’s most purely beautiful and concentrated works, at times recalling Brakhage and Eisenstein. - MUBI
After having spent a year in Warhol's Factory, painter Olivier Mosset returned to Paris with an appetite for film and began hosting Super 8 nights in his apartment. UN FILM PORNO is a miniature sample.
Set in 18th century France, a naive 17-year-old orphan named Benjamin is taken in by his wealthy aunt, the Countess de Valandry. There, he is seduced by a variety of women, including a few flirtatious maidservants and neighboring countesses who all want to be Benjamin's "first".
One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club
A (temporary) leave of many friends who are my truest world, with the attempt of getting them together in an ideal summary conceived to support me during my being far away. –A. L.
An experimental and poetic portrait of a woman.
This satire concerns three French singing idols and their attempt to stay in the public eye. A press conference, backstage hedonism, psychedelia, manipulative managers and disc jockeys are portrayed as the pop culture is thoroughly and effectively lampooned in this independent feature.
A stripped-down account of a young man's existential reckoning. "As dust hides a mirror, lust hides the self," reads one of the film's Vedanta-sourced intertitles. And indeed, while the Pierre Clementi protagonist's inner life remains obscure, the Saint-Germain-des-Pres neighborhood that offers his temptations appears in harrowing detail.
When his father dies, young lad travels to Milan to attend the funeral and decides to follow in his father's footsteps as a gigolo. He is successful at finding rich women to prey on, but finds himself caught up in a bidding war.
A French resistance group liberates some German prisoners. Turns out one of them is a spy.
Lamiel (Anna Karina) is a poor orphan girl who climbs her way to the social elite in this 19th-century costume drama. A doctor (Michel Bouquet) lives vicariously through Anna as he oversees the progress of his female protégé. Lamiel finds love with a young thief who steals into her bedroom after her marriage to a penniless count (Jean-Clause Brialy), and the two experience a romantic rendezvous of forbidden love after Lamiel goes from being a poor peasant woman to living a life of comparative luxury.
Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.
Beautiful young housewife Séverine Serizy cannot reconcile her masochistic fantasies with her everyday life alongside dutiful husband Pierre. When her lovestruck friend Henri mentions a secretive high-class brothel run by Madame Anais, Séverine begins to work there during the day under the name Belle de Jour. But when one of her clients grows possessive, she must try to go back to her normal life.
Directed by a friend of Étienne O'Leary, this film missive, whose words are images, was held in very high esteem by Pierre Clémenti.
The struggle between a ruthless leader of a bank robbers - Raymond Pellegrin - and the cops who are determined to put him in jail for long.
A French sailor circa 1850, disembarks in a desert Atlantic island, and discovers a woman who had survived for many years her father and brother, dead while searching for mysterious valuables. The young couple discover paradise, and its end.
As Garibaldi's troops begin the unification of Italy in the 1860s, an aristocratic Sicilian family grudgingly adapts to the sweeping social changes undermining their way of life. Proud but pragmatic Prince Don Fabrizio Salina allows his war hero nephew, Tancredi, to marry Angelica, the beautiful daughter of gauche, bourgeois Don Calogero, in order to maintain the family's accustomed level of comfort and political clout.
The owner of a suburban boarding school is found murdered. The culprit will be unmasked thanks to the ingenuity and courage of the good Janine and a student, named Nadine.
