detail profile c3 89tienne o leary
Étienne O'Leary
Etienne O'Leary
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Étienne O’Leary’s filmography consists essentially of three experimental films completed in Paris between 1966 and 1968.
Day Tripper, Homeo (aka Homeo: Minor Death: Coming Back from Going Home) and Chromo Sud constitute a cinema of resistance.
These brutally personal and subversive films form a body of work with few precedents.
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Peran Yang Di Mainkan Étienne O'Leary
Over the course of more than...La deuxième femme 2008
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.
Best known for his roles in...Visa de censure n° X 1976
Best known for his roles in Belle de jour, Sweet Movie, and many more, Pierre Clementi was also the architect behind a transgressive, high-minded, and disorienting cinema. Like an acid-soaked freefall, Visa de censure n° X is a rush of nudity and color from one of France’s most seductively watchable actors, set to an album's worth of psychedelic prog rock (performed by the Delired Cameleon Family, a group featuring members of French band Clearlight).
Detruisezvous is a primitive film which...
The film is a series of...Satan Bouche un Coin 1968
The film is a series of images, shown in short takes (anywhere from a few frames to 30 seconds), of more or less fetishistic imagery (something Bouyxou was particularly fond of). After a credit and title sequence written on naked human flesh, the viewer sees the brilliant Molinier standing sanctimoniously in front of a screen. Soon he is joined by a woman, and he fondles her breasts while retaining his signature grin. Molinier seems to almost be the 'ringmaster' of the incidents, with almost every minute episode cutting back to him. His presence is one thing that makes this film remarkable; the same sort of aura that exists in Moliniers famous self-portraits and cut-ups is present here, on screen. (esotika.blogspot.com)
