LDV118

23 JEAN-MARC LUISADA Can you give us an example? I used to love the films of Orson Welles. That’s no longer the case. It may seem paradoxical, but I have less and less patience when the image ‘moves’. So you would gravitate more to the cinema of Yasujiro Ozu. Absolutely! Or directors like Robert Bresson, Jean-Luc Godard (in spite of everything he may have said and done), Jean Grémillon, Michel Deville, Claude Chabrol – or at least the early period of the last two. I would add François Truffaut and Claude Sautet, whom I’m in the process of rediscovering, even if I don’t like all their work. To come back to this idea of immobility, there’s no need to move the camera – Bresson and Ozu demonstrate that very well – when it isn’t justified. But that implies framing the image perfectly. I recently saw again Jacques Becker’s Casque d’or , which I didn’t understand as a teenager yet which moves me deeply today. And then there are also other styles of cinema that touch me, such as the golden age of Hollywood, as exemplified by Vincente Minnelli’s Madame Bovary (1949), with Jennifer Jones in the title role. Nor must I forget to mention Double Indemnity , Sunset Boulevard . . . The list is almost endless.