Philippe Garrel 1968 - Blu-ray La concentration, Le révélateur, Actu I, Le lit de la vierge(TRAILER)

Blu-ray available here : bit.ly/49jSTuJ
Four films by Philippe Garrel : LE REVELATEUR - LA CONCENTRATION - ACTUA 1 - LE LIT DE LA VIERGE
Bernadette Lafont, Laurent Terzieff, Jean-Pierre Léaud, Zouzou, Pierre Clémenti, Tina Aumont, Margareth Clémenti
Le Révélateur alludes both to the chemical process in photography by which the image is revealed (“developer” in English) and, more discretely to the young boy’s deictic role, like that of Saint John the Baptist. The film evokes Christian iconography, and in one particularly striking shot, we see Lafont kneeling on the ground, “crucified,” while her son embraces her. In another scene, Garrel reenacts the Flight from Egypt: there on the road, we see Terzieff and Lafont, with their child. But by the film’s close, the boy is at the edge of a lake, all alone. It is a shot prefiguring the end of Le Lit de la Vierge. Like Pierre Clementi’s Christ, like Garrel himself, the child moves towards his destiny.
Sally Shafto
My opinion of the Christian myth is, I think, easily discernible in Le Lit de la Vierge; it’s a non-violent parable in which Zouzou incarnates both Mary and Mary Magdalene, and Pierre Clémenti incarnates Christ - a very discouraged Christ, who gives up when faced with the cruelty of the world. In spite of its allegorical nature, the film is a denunciation of the police repression of ‘68.
Philippe Garrel
[La Concentration] A birth at the beginning, a death at the end, between the two a lost child and a broken heart. For the first image, you literally have to cut through the night with a chisel. All sorts of links unite the two characters - umbilical cords mooring “superior puppets” - to the practice that drives them: the sound wire serves to make them see, the film to slit their veins, the dolly rails to crawl on, the dolly to transport corpses. Is real life to be found elsewhere? In those three days of uninterrupted shooting, for example, of which the film would be the record, as of a crime?
Jean Narboni