Jacques Rivette

1,274Films

2Lists

5Following

1,088Followers

Favorite films

  • The Life of Oharu
  • , Year Zero
  • True Heart Susie
  • Sunrise: A Song of Two Humans

All
  • Hiroshima Mon Amour

    ★★★★

  • Hiroshima Mon Amour

    ★★★★

  • Anatahan

  • Anatahan

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Hiroshima Mon Amour

1959

★★★★ 5

HIROSHIMA, OUR LOVE
by Jean Domarchi, Jacques Doniol-Valcroze, Jean-Luc Godard, Pierre Kast, Jacques Rivette, and Eric Rohmer.
(Cahiers du Cinéma No. 97, July 1959)

In our issue 71, some editors of CAHIERS DU CINÉMA had held a first roundtable on the then-critical situation of French cinema. Today, the release of Hiroshima, my love seems to them an event important enough to justify a new conversation.

ROHMER: Everyone, I think, will agree if I start by saying that Hiroshima is a…

Hiroshima Mon Amour

1959

★★★★ Added

HIROSHIMA, NOTRE AMOUR
par Jean Domarchi, Jacques Doniol-Valcroze, Jean-Luc Godard, Pierre Kast, Jacques Rivette, and Eric Rohmer.
(Cahiers du Cinéma No. 97, Juillet 1959)

Dans notre numéro 71, quelques rédacteurs des CAHIERS DU CINÉMA avaient tenu une première table ronde sur la situation, alors critique, du cinéma français. Aujourd'hui, la sortie d'Hiroshima, mon amour leur semble un événement suffisamment important pour justifier une nouvelle conversation.

ROHMER: Tout le monde, je pense, sera d'accord, si je dis pour commencer qu'Hiroshima est…

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Splendor in the Grass

1961

★★★★ Added

The Art of the Present
(L'art du présent, Cahiers du Cinéma No. 132, June 1962)

The subject of Elia Kazan's last two films is time. Not some abstract idea, but everyday time as men must live it day after day. Wild River is built entirely around one of cinema's master themes, the confrontation between the old and the new: parallel to the epics of Eisenstein and Dovzhenko, here is a pragmatic, all-American meditation. But instead of contrasting two moments, two…

The Trial of Joan of Arc

1962

★★★★ Added

Notes on the Commercial Failure
(Note sur l'insuccès commercial, Cahiers du Cinéma No. 143, May 1963)

The beauty of Robert Bresson's last two films is that of pure information: by which I mean that only the minimum number of relays remain, and that a limitless reduction of entropy is sought. No filmmaker, it seems, has ever sought so absolutely the most direct communication with the viewer (a relationship of equality, not submission, as with Hitchcock); even Buñuel and Rossellini, in…

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