Fernando Trueba’s film offers little new insight into the creative process beyond the banality of practice, playing like a sterile, truncated version of Jacques Rivette’s La Belle Noiseuse.
Secret défense feels in many ways like a culmination—Rivette’s ideologies and obsessions distilled to a perfect essence.
The Museum of the Moving Image’s complete Jacques Rivette retrospective moves into its third week with screenings of three more recent features.
The retrospective’s Sunday screenings kick off with Rivette’s 1966 episode of Cinéastes, de notre temps, which profiles Jean Renoir.