Philippe Garrel’s The Plough is a minor addition to the iconic filmmaker’s oeuvre.
Garrel illustrates the absurdity behind the myth of the complementary couple without humor or wit.
Lover for a Day is yet another of Phillippe Garrel’s densely anecdotal studies of romantic fidelity.
The limitations of black and white both point to Philippe Garrel’s silent-era influences and identify a way forward.
Philippe Garrel’s film uses its characters’ stodgy, formal language to betray their self-consciousness.
Un Ange Passe works on a model of long, uninterrupted takes on the faces of its characters, subdued and wistful.
Like an astutely aching ballad, Philippe Garrel’s film is pleased to ambiguously infer the interior logic of its irresolute characters without pigeonholing their motivations.
Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
If there’s one thing that’s genuinely surprising about Philippe Garrel’s new film it’s the lack of feverish urgency that its title promises.
Low Life’s perpetual twilight evokes a space between the late films of Robert Bresson and Pedro Costa’s digital works.
Almayer’s Folly is a work of engulfing jungles and rivers, vehement and incantatory speeches, and piercing female gazes in front of and behind the camera.
References to films-as-dreams in film criticism have risen in inverse proportion to the actual dreamlike quality of the cinema, which is all but extinct.<
I was over Louis Garrel before I was ever into him.
Something’s kept me coming back to the writer-director’s filmography hoping to make a connection.
The film is an astonishingly anti-dramatic take on the children of the failed May ‘68 revolution.
The film is a joyous mash note to the events of May ‘68.