Martine Rousset

Le Phare (2024)

in the meantime , lighthouse , old lighthouse , far away , beyond the ponds , coolpix , little coolpix , long before the perfect clone . ...

Train (2022)

Listen to the trace, over the absent times, from the shore, at the very edge of the page, in the blind corner where the reader is held, give a voice, as one throws a net. ...

Aurore Collective (2020)

Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan. ...

Ombres (2019)

Wandering through Central Asia, the Caucasus, Kurdistan… to Istanbul. Cities and trains, steppes and snow, down there where the pulse of time evaporates; a very simple film, a navigation, attention letting yourself be taken to the threshold of time going ...

Rue Pouchkine (2017)

"Yerevan, Armenia, in the illegible secret of the country, imprisoned in its shadows, in its nights of the underground, nights of the basements, trains for nowhere... ephemeral traveler, light sleeper... ...

Anatolia (2015)

Rousset photographs a train station in the evening, then boards a late-night train bound for mountainous Anatolia. ...

Vangölü ekspresi (2015)

Filmmaker's visual diary aboard the Vangolu Express. ...

Chemins (2014)

The unfinished Julien Gracq text, the road 1970, a forest near the sea, the enigma of a trajectory, by this text in this lanscape and this landscape in this text, it's diging, since a double echo to a same root, deep, invisible, an absolute presence, ...

Crépuscule aux Aresquiers (2014)

Night is falling the landscape is disappearing leave the world and its memory the night, rags in its wake last page. ...

Istanbul (2007)

With Istanbul, Martine Rousset puts on the brakes to the world's movement through a cinema of deceleration. At the boundaries between image by image movement and optical fusion, the rhythm of the film gives way to a suspended or floating time. Is it not ce ...

Mer (2003)

"The sea is a language whose meaning we have lost" Jorge Luis Borges ...

Passages (1998)

Originally a text in fragments, more or less biographical, of different characters. Crossed stories, mixed times, memories and inventions. Coming from the voices encountered. They look like text like sisters. They are the voices of memory, the shadows cas ...

Chants (1995)

To examine the image of this face, this look, there are fragments of raw stories, mineral lights, snatches of an endless dream ... The insistence clashes, until abstraction , To the decomposed time, to its chaos with the gleams of stone. From that face c ...

Un vent leger dans le feuillage (1994)

"With Un vent leger dans le feuillage, a fixed close-up which for three minutes decays a few leaves of their green color, Martine Rousset films the fluorescent vibration of the chlorophyll: the color shapes at the same time as it drips, it institutes the I ...

New York Long Distance (1994)

A film about my relationship to New York since 1962. It deals with the distance between a memory and the image of this memory, a distance one always tries to abolish. In this personal film we see the images of a city from a close distance, with autobiograp ...

Kleist (1993)

Readings. Heinrich von Kleist / Robert Walser. Contiguous. They talk about imagination. Walser imagines Kleist, Kleist nobody, but Penthesilea. In the new desert islands that are the enclaves of flowers of the city. Roses of sidewalks. Wild spaces with an ...

Broken Blossoms (1992)

A cinematic metaphor, conceived as part of a compilation of films on AIDS, this is an emotional translation of the disease. The juxtaposition of music and images creates conflicts involving elements that, taken separately, would appear insignificant. Produ ...

Été (1991)

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. ...

Les heures (1990)

On the one hand: A frame - and then windows in the frame - Spiked - from one to the other - Images designated - fenced, inside / out. Every moment broken - repeated. Always past. One after the other. Cruelty of the open boundary itself - and immediately ...

Mansfield K. (1988)

"Readings. A place. Purity of lines. Fine angles. Dominance of whites and blues. Fragility of tapered glasses." A visual evocation of the writing of Katherine Mansfield. ...

Dehors (1985)

Landscapes. A utilitarian nature. Contemporary. Cruel images. Changing. Seasons. The watch could be eternal. Each image transparent and non-avenue. Only the sound volumes will unfold an obscure duration. ...

Laure (1984)

An unknown writer written under the pseudonym of Laure at the beginning of the century. Readings. Geography. The places of a writing. The forces that create, traverse and lose it. The two image strips will be contiguous on the same screen. Their continuous ...

Carolyn III (1981)

The last part of the Carolyn Carlson cycle. Last look. Oversight. Irreversible erasure. The song is immersed. Blinded. ...

Carolyn II (1980)

Portrait. She dances in the center of her area. Obscure to the look. She abandons us to her limit. Turn. Count the chips. Conjugate. Turn on yourself, in a blind echo. Cross the already deserted space. ...

In/ex Dérive (1979)

Le petite réverbère (1978)

Traces of stories. The images themselves. Tear off. Stain. To paint. Makes light out of them. ...

Urgent ou à quoi bon exécuter des projets puisque le projet est en lui-même une jouissance suffisante (1977)

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impos ...

Carolyn I (1977)

The first part of the Carolyn Carlson cycle. Between her and herself. Three images of the dance are repeated, come up against opacities that do not let themselves be crossed, are lost in transparencies from which there is no reflection. The sound describes ...

Encéphale (1977)

Cinexpérimentaux #1: Martine Rousset (2000)

Portrait of experimental filmmaker Martine Rousset. ...

Portraiture (1993)

Initial situation: models were invited to participate in their portrait by the contribution of personal objects and a great freedom of expression before the camera. This initial situation was conceived by Catherine Rebois. Graffon: I propose to film in a ...

Portraits / Mirrors (1984)

A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, S ...

Tandis que j’agonise (1980)

Free adaptation of Faulkner's novel aroused by the Patrick Henry and Ranucci cases. ...

Cinématon (1978)

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 ...

Cinématon n°22 : Martine Rousset (1978)

Cinématon III (1978)

Reel 3 of Gérard Courant's on-going Cinematon series. ...

Sha-Dada (1978)

Sha-Dada is an "expanded" film on two screens which presents itself as a confrontation between two imperialisms. ...

M M M M M... (1977)

One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical. ...