LA FEMME AUX CENT VISAGES

by Jean-Daniel Pollet
LA FEMME AUX CENT VISAGES

Informations

Nation: France

Year: 1966

Length: 8'

34° TORINO FILM FESTIVAL

Section:

Synopsis

Faces of women captured in paintings from the antiquities to Modigliani’s times, accompanied by the notes of Pierrot le fou, composed by Antoine Duhamel. [mp]

Director

Jean-Daniel Pollet

Jean-Daniel Pollet

Jean-Daniel Pollet (La Madelaine, France, 1936 - Cadenet, France, 2004) as a filmmaker can hardly be classified in a school of thought or trend. He decided he would become a director in high school, and has dedicated his life to cinema ever since, with mixed success: La ligne de mire (1960), for instance, was never publicly released and was severely criticized by the Nouvelle Vague; Méditerranée, on the other hand, was a resounding success, elevated as a masterpiece by the “Cahiers du cinéma.” His creative partnership with Claude Melki, his role in France’s May 1968 protests, or in the circles of Brazilian Cinema Nôvo are all elements that resurface in Pollet’s cinema. He died in 2004 after a long and prolific career, to which the Torino Film Festival dedicated a complete retrospective in 1998.

Filmography:

Bassae (cm, 1964), Une balle au cœur (1965), Le Horla (mm, 1966), La femme aux cent visages (cm, 1966), Les morutiers (cm, 1966), Tu imagines Robinson (1967), L’amour c’est gai, l’amour c’est triste (1968), Le maître du temps (1970), Le sang (1972), L’ordre (1973), L’acrobate (1975), Pascale et Madi (cm, 1976), Pour mémoire (1980), Au père Lachaîse (cm, 1986), Contretemps (1988), Trois jours en Grèce (1990), Dieu sait quoi (1996).

Cast and Credits

regia, fotografia, montaggio/director, cinematography, film editing
Jean-Daniel Pollet
testo/text
Jean Thibaudeau
musica/music
Antoine Duhamel
voce narrante/narrator
Jean Topart
produzione/production
Argos Films


contatti/contacts
La traverse
Gael Teicher
nostraverses@gmail.com

Director statement

“The text I wrote was made of one descriptive-evocative phrase about the images portrayed; a phrase spoken by a male voice to convey a discourse about desire, pronounced in the second person singular and in the present tense, but with a sense of detachment so that it couldn’t be attributed to a specific conscience or character.” (Jean Thibaudeau)

“I made him listen to the music I composed for Pierrot le fou and he told me ‘I’ll take it and make a movie out of it. Sometimes, during conferences, I enjoyed showing the scene of the Durance crossing from Pierrot le fou, first on silent and then with the music on; I would then follow it with The Woman of One Hundred Faces, where the same music accompanies an entirely different visual support.” (Antoine Duhamel, 1998)

Synopsis Learn more

Faces of women captured in paintings from the antiquities to Modigliani’s times, accompanied by the notes of Pierrot le fou, composed by Antoine Duhamel. [mp]

Director All about direction

Jean-Daniel Pollet

Jean-Daniel Pollet

Jean-Daniel Pollet (La Madelaine, France, 1936 - Cadenet, France, 2004) as a filmmaker can hardly be classified in a school of thought or trend. He decided he would become a director in high school, and has dedicated his life to cinema ever since, with mixed success: La ligne de mire (1960), for instance, was never publicly released and was severely criticized by the Nouvelle Vague; Méditerranée, on the other hand, was a resounding success, elevated as a masterpiece by the “Cahiers du cinéma.” His creative partnership with Claude Melki, his role in France’s May 1968 protests, or in the circles of Brazilian Cinema Nôvo are all elements that resurface in Pollet’s cinema. He died in 2004 after a long and prolific career, to which the Torino Film Festival dedicated a complete retrospective in 1998.

Filmography:

Bassae (cm, 1964), Une balle au cœur (1965), Le Horla (mm, 1966), La femme aux cent visages (cm, 1966), Les morutiers (cm, 1966), Tu imagines Robinson (1967), L’amour c’est gai, l’amour c’est triste (1968), Le maître du temps (1970), Le sang (1972), L’ordre (1973), L’acrobate (1975), Pascale et Madi (cm, 1976), Pour mémoire (1980), Au père Lachaîse (cm, 1986), Contretemps (1988), Trois jours en Grèce (1990), Dieu sait quoi (1996).

Cast and Credits Discover the cast of the film

regia, fotografia, montaggio/director, cinematography, film editing
Jean-Daniel Pollet
testo/text
Jean Thibaudeau
musica/music
Antoine Duhamel
voce narrante/narrator
Jean Topart
produzione/production
Argos Films


contatti/contacts
La traverse
Gael Teicher
nostraverses@gmail.com

Director statement Read more

“The text I wrote was made of one descriptive-evocative phrase about the images portrayed; a phrase spoken by a male voice to convey a discourse about desire, pronounced in the second person singular and in the present tense, but with a sense of detachment so that it couldn’t be attributed to a specific conscience or character.” (Jean Thibaudeau)

“I made him listen to the music I composed for Pierrot le fou and he told me ‘I’ll take it and make a movie out of it. Sometimes, during conferences, I enjoyed showing the scene of the Durance crossing from Pierrot le fou, first on silent and then with the music on; I would then follow it with The Woman of One Hundred Faces, where the same music accompanies an entirely different visual support.” (Antoine Duhamel, 1998)