The Films of Philippe Garrel

Le berceau de cristal

Philippe Garrel, France, 1976, 35mm, 70 min.

A score by Ash Ra Tempel provides atmosphere to this sometimes dreamy, sometimes ominously silent trancelike transmission featuring Dominique Sanda, Anita Pallenberg and Frédéric Pardo, whose canvases are meditatively presented in whole or in part for observation. “Snapshot of a discordant generation. The cradle? Art (Pardo’s painting, Nico’s poetry, the Langlois Museum). The crystal? The cold (Anita Pallenberg’s powder, the silence before suicide). Every life is a demolition process.”—Philippe Azoury

The Films of Philippe Garrel

At a time when the auteurs of the French New Wave were basking in international success, the young Philppe Garrel emerged with a singular, anarchistic vision that pushed the limits of an already-groundbreaking movement. The short film Les enfants désaccordés was made when Garrel was just 16 years old. As the civil unrest in France sparked by the events of May ’68 reverberated around the globe,, Garrel and a coterie of filmmakers known as the Zanzibar group, began dismantling the structure and language of the cinema that preceded them. Garrel chronicled the May ’68 protests in the recently re-discovered Acuta 1 and he revisited the events in his 2005 feature Regular Lovers. Throughout the 1970s, while involved in a tumultuous relationship with German model and chanteuse Nico, Garrel made some of the most daring and visionary cinema in all of Europe. Often incorporating aspects of his personal life and casting members of his own family in his narratives, Garrel pioneered a singular style of filmmaking with hints of Robert Bresson, Jacques Rivette and Andy Warhol, with an aesthetic dominated by minimalism and existential ennui. Lightbox Film Center is thrilled to present a survey of Philippe Garrel’s films throughout the month, including a special conversation with filmmaker Yann Dedet (editor on J'entends plus la guitar) on April 20. Film descriptions courtesy of Metrograph. Special thanks to Jacob Perlin.