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Pierre Clementi

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Belle de Jour (Ode to Marcel – more pix of him from the film)

It was he who suggested to Bunuel that the character of Deneuve’s lover should wear the leather coat, gold teeth, and moth-eaten socks.

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Pierre Clémenti, actor for Buñuel, Garrel, and Bertolucci, was a brilliant filmmaker, free, poetic, adventurous, madly in love with editing and color. Recently, three 16mm films were found where he left them 20 years ago, at the Pompidou Centre (whose original director had been granted him an editing room for life back in the day). Three films made of dazzling rushes accumulated over 15 years, edited for years, and, unfortunately in a pretty bad condition. Their restoration on film was the only way to elevate them to where they belong, while respecting the format chosen by the artist.
It’s in 1967, with the money he earned acting in Michel Deville’s Benjamin, that Pierre Clémenti bought his first 16mm Beaulieu camera. During the next 15 years he never stopped filming, during shoots, during trips, at home, amongst friends and family. Certainly influenced by the psychedelic movement, he began a filmmaking career abundant with color, rock music, poetic eroticism, and references to psychotropic experiences.

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Pierre Clementi Handsome Devil

Clémenti, ethereal libertine, was a pillar of the post–New Wave, post-’68 European cinema that exiled itself into the wilderness of difficult art. His dark eyes shone from a damp and luminous wastrel’s face. His spare, angular frame suggested a diet of opiates and kisses. A consummate full-body actor, directors—Clémenti included—often stripped him bare, to martyr-like vulnerability.

Pierre Clementi – (September 28, 1942 – 27 December 1999)

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