Life and work
Like most later directors of the Nouvelle Vague Rivette approaches the cinema over the cinephilia and film criticism. In the Cinémathèque Française, he meets regularly François Truffaut, Jean -Luc Godard and Éric Rohmer. In 1950 he founded with Rohmer La Gazette du cinéma.
From critic for the magazine Cahiers du cinéma, he was from 1963 until 1965, its editor. In 1958 he shot his first feature-length film Paris nous appartient.
When working with his actors Rivette uses a method which he has maintained throughout his career: There is no script, but only a few pages, the vague notion of the action. The text is distributed only a day before turning, or even until the day of shooting himself.
Rivette's second long movie Suzanne Simonin, la Religieuse de Diderot ( Rivette preferred this item towards the abstract La Religieuse ), which he shot in 1966 on the novel by Denis Diderot, is temporarily banned by the French censorship. Anna Karina is played Suzanne, a young girl, you have put in a convent, and that refuses to become a nun. With L' Amour fou and Out 1: Noli me tangere Rivette radicalized his experiments with improvisation and creates a film with a unique atmosphere. Out 1: Noli me tangere lasts 773 minutes (12 hours and 53 minutes), making it the longest movie of cinema history. The short version (entitled Out 1: Spectre ) takes 4 hours.
With Le Pont du Nord (1980), Rivette was to a certain realism, before he returned with L' Amour par terre (1984) and La Bande des quatre (1988 ) to his favorite themes ( the plot, the mystery, the theater ).
1991 embodied Emmanuelle Béart on the side of Michel Piccoli and Jane Birkin La Belle Noiseuse. The film won the Grand Jury Prize at the International Film Festival of Cannes 1991. Sandrine Bonnaire played Joan of Arc in the two-part work of Jeanne la Pucelle ( 1994), which consists of Bataille and Prisons.
Similarly, the members of a theater group play numerous actresses and actor in several films Rivette with, in particular, Bulle Ogier, with whom he has worked together for a period of almost 40 years, eight films and Juliet Berto, among other things, critical to two of his most important films ( " Céline et Julie vont en bateau "and" Out 1 " ) was involved. Jane Birkin Also, Anna Karina, Michel Piccoli, Laurence Cote, Nathalie Richard, Geraldine Chaplin, Nicole Garcia, Sandrine Bonnaire, Eméanuelle Béart, Jeanne Balibar, Marianne Denicout and Jerzy Radziwilowicz have starred in several films.
2009 Rivette received for his feature film 36 vues du Pic Saint -Loup an invitation to compete in the 66th Film Festival of Venice.
Although Suzanne Simonin, la Religieuse de Diderot created a scandal, Rivette is not a director who seeks the provocation. His films are grounded in the idea that cinema is a special form of experience, an exploration. He explores the usual standards, they sometimes beyond, where he always maintained a certain lightness. Here, the duration of the films is of particular importance. Out 1 is unique in this regard, but also most other films Rivette take more than 2.5 hours.
The slowness of his films comes some conditioned by mainstream moviegoers from, but it gives an experience of a special kind The viewer is not overwhelmed, but can move freely in the movies and so involved with each seeing the film at its creation. This is especially true for the very playful film Céline et Julie vont en bateau (1974 ), in which Rivette mixes the fantastic with the mundane. This improvised imagination testifies at the same time by an impressive championship, where the ghosts Rivette Jean Cocteau and Lewis Carroll's summoned.
An important element in Rivette's films is the closed space. Often the plot for the most part is played out in an old house. How come for the audience in the film certainties of everyday life overridden, then the movie characters go into another magical world, they enter this haunted houses. Fulfills a similar function, the theater performance in the film, as they variously occurs in Rivette (L' amour par terre, Va savoir ).
For Rivette is the reference to the work of other directors of special importance. He writes about his work:
"I have to constantly see the need, the films of Griffith, I feel the need, the films of Eisenstein constantly to see the films of Murnau, but I also feel the need to see the contemporary films. Because it makes itself only movies in relation to other filmmakers. It does not make any films in the abstract. It does not project any inner vision that you have in your head, there is not. So something is wrong. It makes movies in terms of what has already been made of the great filmmakers of the past, those who founded the cinema, and in relation to those, our successors are our contemporaries. [ ... ] To really love a movie, you have to already be a film maker. To love a movie that has already been the act of a film buffs. "
In his early films Rivette wrote regularly on the script; since the mid- 1980s are Christine Laurent and Pascal Bonitzer his constant screenwriters.