31 de maio de 2011

I believe my point of view on the Christian myth is quite clear in The Virgin’s Bed. It is a non-violent parable in which Zouzou incarnates both Mary and Mary Magdalene while Pierre Clémenti incarnates a discouraged Christ who throws down his arms in face of world cruelty. In spite of its allegorical nature, the film contains a denunciation of the police repression of 1968, which was generally well understood by viewers at the time.
Philippe Garrel

Philippe Garrel provides himself with a genuine liturgy of bodies, he restores them to a secret ceremony whose only characters are Mary, Joseph and the Child. This is hardly a pious cinema, even though it is a cinema of revelation. If the ceremony is secret, it is precisely because Garrel takes the three characters 'before' the legend, before they have made a legend or constituted a holy story : the question posed by Godard "What did Joseph and Mary say to each other before having the baby ?", not only heralds a project of Godard's but sums up Garrel's experiences. The theatrical hieratism of characters, noticeable in his first films, is uncreasingly focused on a physics of fundamental bodies. What Garrel expresses in cinema is the problem of the three bodies: the man, the woman and the child. The holy story as gesture.
Gilles Deleuze

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