Smells Like Teen Spirit

The French film poster for COLD WATER (1994)

Was high school the most emotionally turbulent rite of passage every teenager had to endure? For some, like French director Olivier Assayas, it was a period of time that helped transform him into the person he is today. Those years provided the raw material to create a deeply personal cinematic experience that was not just an artistic triumph in France but earned the director international attention and acclaim. L’eau Froide (English title: Cold Water, 1994) was Assayas’s fifth feature film but he credits it with being the movie that marks his first real breakthrough as a director. The story of Gilles (Cyprien Fouquet), a troubled student from an upper-class family, and his on-again, off-again infatuation with Christine (Virginie Ledoyen), a rebellious sixteen-year-old from a divorced working-class couple, is semi-autobiographical in nature with some incidents taken directly from the director’s life. Assayas would later state, “Cinema has the capacity for making you experience moments, emotion in your life and looking back on it I have the strange feeling that this movie belongs to the seventies.”

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Face Time

Edie Sedgwick in one of the famous Andy Warhol Screen Tests

For most people the films of Andy Warhol were more fun to read about then to actually watch. In the case of films such as the 485-minute Empire (1964) or Sleep (1963), at 321 minutes, it’s hard to imagine someone watching these in their entirety in one sitting. I don’t even think Warhol expected viewers to watch these in real time but to wander in and out of the screenings like you would at a video installation. But even at revivals of the most popular and infamous Warhol titles such as The Chelsea Girls (1966) and Lonesome Cowboys (1968), you can bet on numerous walkouts during the screenings, not from outrage but boredom or disinterest. At the other end of the scale, however, are the short, silent black and white films he made when he was first experimenting with the medium and his Screen Test series shows a brilliance of concept and execution that could easily turn naysayers into converts.

The Naked Lens of Philippe Garrel

Jean Seberg is the main focus of Philippe Garrel’s Les Hautes Solitudes (1974).

In 1974 very few people outside of France knew anything about Philippe Garrel, an experimental filmmaker who had first attracted attention in Parisian film circles with his 1964 fifteen minute short, Les Enfants Desaccordes (1964). Decidedly non-commercial, Garrel’s abstract, often autobiographical ruminations on disenfranchised youth and the vagaries of romantic love appealed to a fringe group of European cinephiles. But Les Hautes Solitudes, which was first screened in Paris in December 1974, raised Garrel’s profile considerably due to the film’s cast which included model/actress/singer Nico (formerly of The Velvet Underground) and current companion of Garrel, French stage and screen star Laurent Terzieff, the stunning Tina Aumont (daughter of Maria Montez and Jean-Pierre Aumont and, most notably, American actress Jean Seberg, who had reinvented her screen career in France with Jean-Luc Godard’s Breathless (1960). Continue reading