The Misunderstood Maurice Pialat (The New Yorker)<\/a><\/p>\n Harvard Edu Archive — Maurice Pialat, Cinema of Immediacy<\/a><\/p>\n Van Gogh (More film stills from here)<\/a><\/p>\n <> Relentless vision of Maurice Pialat<\/a><\/p>\n Produced by Francois Truffaut. L\u2019enfant nue was Pialat first feature film in 1969. <\/p>\n Nestor Almendros (A Man With a Camera<\/a>) on Maurice Pialat <\/p>\n Pialat has purified his style in film after film, culminating in La Gueule Overte<\/a>, which is totally stark. He systematically rejects the techniques and devices of what is called “cinema”; he will have no camera movements– no pans, no dollies, no zooms–preferring the camera to be motionless, glued to one spot. Neither will Pialat overedit, so his shots often last as long as the scene itself. Movie sans frontier – Maurice Pialat <\/a><\/p>\n![\"1aBernaosPialat\"](\"http:\/\/www.mutanteggplant.com\/vitro-nasu\/wp-content\/uploads\/2017\/08\/1aBernaosPialat-e1504131052483.jpg\")
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\nPialat from Under the Sun of Satan. <\/p>\n<\/a>
\n(Gerard Depardieu and Sandrine Bonnaire in “Under the Sun of Satan”)<\/p>\n<\/a>
\n(Jacques Dutronc as Van Gogh ) <\/p>\n<\/a>
\nL’enfamt Nue <\/a><\/p>\n
\nIn this preference, Pialat is reminiscent of Bresson, but Pialat’s films are in every other way the antithesis of Bresson’s. As a director Bresson is hieratic in his stylization, while Pialat is only satisfied with complete naturalness.” (Page 119) <\/p><\/blockquote>\n