[Frameworks] Pierre Clémenti: the Unreleased Reels at New York Filmfestival

From: Philippe Dijon de Monteton (email suppressed)
Date: Thu Sep 30 2010 - 06:33:06 PDT

Dear Friends and Filmlovers,

please note the world premiere of « Pierre Clémenti – the Unreleased Reels »
at the New York Film Festival on the 30th of September.

Three crude diamonds, three silent symphonies, three multi-coloured serpents
that are likely to shock the viewer with their psychedelic and visionary


If you’re there, it would be a pleasure to share this experience with you.
The restoration of the films is complete after three years of hard work and
the result is astonishingly beautiful. You can find more information on the
films at the bottom of this message.

Best wishes,

The House on Fire team

House on Fire productions
14, Passage de l’Industrie
75010 Paris
0033 (0) 6 03 69 84 68
vincent wang : <mailto:email suppressed>
email suppressed
philippe dijon de monteton : <mailto:email suppressed>
email suppressed
antoine barraud : <mailto:email suppressed>
email suppressed

Pierre Clémenti, actor for Buñuel, Garrel, and Bertolucci, was a brilliant
filmmaker : free, poetic, adventurous, madly in love with editing and color.
Recently, three 16mm films were found where he left them 20 years ago, at
the Pompidou Centre (whose original director had granted him an editing room
for life back in the day). Three films made of dazzling rushes accumulated
over 15 years, edited for years, and, unfortunately in a pretty bad
condition. Their restoration on film was the only way to elevate them to
where they belong, while respecting the format chosen by the artist.
It’s in 1967, with the money he earned acting in Michel Deville’s Benjamin,
that Pierre Clémenti bought his first 16mm Beaulieu camera. During the next
15 years he never stopped filming, during shoots, during trips, at home,
amongst friends and family. Certainly influenced by the psychedelic
movement, he began a filmmaking career abundant with color, rock music,
poetic eroticism, and references to psychotropic experiences.

“They bring together the image with the colorful psychedelic impulses of
these juicy times…To find again the chant of origins, images that inscribe
themselves in us like a double and that wave to us. To grope for… In the
dark room of multinational ideas, I quiver and I mumble. Cinema of the
inside and the outside, of the behind and the inside. In front of the
magical mirror of multiple visions, I find the thread of my memory and open
a little the family album of births and deaths. In front of the flood of
multicolor impressions, cartoons, reanimated by passion and love of the man
with the cardboard suitcase, I was waving my huge scissors and carving and
re-carving like an inspired sculptor standing in front of his first
work”—Pierre Clémenti, 1974.

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