Noroît (Jacques Rivette, 1976)

FR, 145 min

Duelle (une quarantaine) (Jacques Rivette, 1976)

FR, 121 min

Céline et Julie vont en bateau (Jacques Rivette, 1974)

Céline et Julie vont en bateau – Phantom Ladies Over Paris
FR, 193 min

l’Amour Fou (Jacques Rivette, 1969)

le Pont du Nord (Jacques Rivette, 1981)

the North Bridge
FR, 129 min

spontaneous, kinetic
rivette, your mysterious cinema worlds
make me feel gooey
alive

Céline et Julie vont en bateau (Jacques Rivette, 1974)

Celine and Julie Go Boating

FR, 193 min

http://www.imdb.com/title/tt0071381/

so. so. good. magic.

Like all of Rivette’s characters, Céline and Julie are cinema’s great sleepwalkers—walking through our world, in a world of their own, seeing (quite literally) how the two rhyme and scheme together, how they might scheme back. Is there a plot? It’s the question often facing Rivette characters; the next question is whether they are its audience, subject, or author. In Céline and Julie they are, progressively, all three. When they look in the looking glass , the nod isn’t just to the helpless spectators of Lewis Carroll and Jean Cocteau (like Orpheus, they’ll even find themselves in a car taking them from one world to another)—but to Duck Soup, and to Groucho Marx, ever occupying a different plane of reality than Mrs. Dumont. Surreality: the level right above reality: the level of God and Groucho. With reality entirely at their disposal. – David Phelps