Comments on: The Dynamics of the Image, or Civeyrac Matters

By: Ignatiy Vishnevetsky

Ignatiy Vishnevetsky — Sat, 03 Oct 2009 20:10:14 +0000

It’s true that he is a sort of exile — a man who exiles himself to a certain frame of mind instead of a certain country — but I don’t think it prevents “true feelings from emerging from the screen.” It was feeling, more than technique (anyone can shoot in long takes — it’s actually much easier than working in short ones), that attracted me to him.

By: Emanuel Habenshaus

Emanuel Habenshaus — Fri, 02 Oct 2009 09:23:46 +0000

Civeyrac will never be a large figure in the cinematic landscape for his self imposed exile and isolation all in the name of art prevents any true feelings from emerging on the screen. He idolizes the classicists while espousing the neo futurist values and beliefs. Give him his time and maybe, just maybe, can a new cinematical landscape form from the ashes.

By: Ignatiy Vishnevetsky

Ignatiy Vishnevetsky — Wed, 23 Sep 2009 22:43:56 +0000

I haven’t tracked that one down, though I’ve seen, I think, all of the other features and a good part of the shorts, including the first one, LA VIE SELON LUC, from 1991 — now that’s a completely different film from the others (I wonder what happened to him in the five years between that and NEITHER EVE NOR ADAM? Had to look for funding and found himself?). And I don’t mean that long takes are exclusive to him, or that they’re the only true aspect of his style. They’re just the best way to express what I think he’s after. I had to stop myself or else this piece would have been a Senses of Cinema Great Directors profile. There’s a lot to the guy.

By: Dan Sallitt

Dan Sallitt — Wed, 23 Sep 2009 15:31:18 +0000

Have you seen TOUTES SES BELLES PROMESSES? Death isn’t foregrounded there, nor particularly long takes, if I recall correctly: it has a Deville/Ophuls bittersweet quality, and an emphasis on the feminine. Very good film.