“Laxe uses weather and color as to suggest a transformation just before complete bitterness, and he expresses, amongst all, a question that goes beyond gilt and resides in the misteries of identity”
– Alonso Díaz de la Vega: El Universal
“Few recent movies have such an amazing begining (…) It is Oliver Laxe’s talent (…) a contemplative cinema, but never redundant. Precise in every sequence, with no self-complacent intentions.”
– Javier Ocaña: Diario El País
«Analiza tanto la naturaleza como la naturaleza humana con la misma fascinación (…) Laxe realiza un estudio de un ecosistema que mantiene un equilibrio frágil y lánguido hasta que interviene un imprudente impulso humano.»
“Oliver Laxe’s third feature studies nature and human nature with equal fascination (…) it’s an aptly democratic study of an ecosystem that exists in languid, fragile balance until reckless human impulse intervenes.”
– Guy Lodge: Variety
In 1994, with a retro at the French Cinémathèque, I published a book entitled VARDA BY AGNÈS. 25 years later, the same title is given to my film made of moving images and words, with the same project: give keys about my body of work. I give my own keys, my thoughts, nothing pretentious, just keys.
The film is in two parts, two centuries.
The 20th century from my first feature film LA POINTE COURTE in 1954 to the last one in 1996, ONE HUNDRED AND ONE NIGHTS. In between, I made documentaries, features, short and long.
The second part starts in the 21st century, when the small digital cameras changed my approach to documentaries, from the GLEANERS AND I in 2000 to FACES PLACES, co-directed with JR in 2017. But during that time, I mostly created art installations, atypical triptychs, shacks of cinema and I kept making documentaries, such as THE BEACHES OF AGNÈS.
In the middle of the two parts, there is a little reminder about my first life as a photographer.
I’ve made a wide variety of films in my life. So I need to tell you what led me to do this work for so many years.
Three words are important to me: Inspiration, creation, sharing.
INSPIRATION is why you make a film. The motivations, ideas, circumstances and happenstance that spark a desire and you set to work to make a film.
CREATION is how you make the film. What means do you use? What structure? Alone or not alone? In colour or not in colour? Creation is a job.
The third word is SHARING. You don’t make films to watch them alone, you make films to show them. An empty cinema: a filmmaker’s nightmare!
People are at the heart of my work. Real people. That’s how I’ve always referred to the people I film in cities or the countryside.
When you film something, a place, a landscape, a group of people, even if the subject is specific, what you shot indicates your deepest project.
I like to bring together reality and its representation. But I also like to juxtapose moving images and still images, in video and in photography.
“It is an agil and well done documentary, that uncovers a the dazzling personality, profane and sensitive from Noyola, who colaborated in magazines such as Vuelta or Letras Libres. He was as shameless as to dedicate a poem to the blue eyes of his mentor, Octavio Paz.”
– Hugo Lara: CorreCámara
“Diego Osorno creates a poetic ode to the missing Samuel Noyola, as project that took him more than a decade.”
– El Informador
«Vaquero de mediodía, de Diego Enrique Osorno [es un vaso comunicante] de la evocación nostálgica y reivindicadora de personajes anónimos o incomprendidos; también maneras intimistas y novedosas de una recuperación de la memoria colectiva»
“Midday Cowboy, by Diego Enrique Osorno [is a communicating glass] from the nostalgic and vindicaiting evocation of anonymoys and incomprehended characters. It is also shows new ways to gather collective memory”
-Carlos Bonfil: La Jornada
“Palestinian director Elia Suleiman continues to relish the minutiae and absurdities of daily life via vignettes of life at home and abroad.”
-Jay Weissberg: Variety
“Another love letter to Palestine from a modern Chaplin.”
– Deborah Yound: The Hollywood Reporter
“The absurdities and visual gags from It Must Be Heaven are the best ones in Suleimann’s path, which make this his better and must funny movie that makes a difference.”
– Kaleem Aftab: Cineropa
“A burlesque tale in which identity, nationality, and belonging are explored. Suleimann poses the question ‘Where can one feel at home?”
“The talented rumanian filmmaker surprises (and convinces us) with his thriller noir which stands out from his previous filmography and from almost all of the cinema coming from his country.”
– Diego Lerer: Micropsiacine
“The pleasing perspective from Corneliu Porumboiu about grand theft movies has its own charm.”
– Eric Kohn: IndieWire
“Art house movie that stands out from many others within its genre.”
– Leslie Felperin: The Hollywood Reporter