"You go somewhere with people, bring a camera with you, and get into a collective psychosis, just like that."-Philippe Garrel"This striking example of Garrel's youthful avant-garde work looks to Rimbaud, Cocteau, the French Symbolists, and Christian imagery-surpassing Warhol in its visceral, highly personal 'home movie' mysticism. Maurice Garrel, the director's father, embodies the fascist impulse to suppress creativity, while Zouzou's Marie, bravely dreaming she's with child, suggests the artist committed to aesthetic gestation against all odds." (Film Society of Lincoln Center) "'The Rimbaud of the Cinema' first picked up a camera at the age of fourteen, made his first 35mm short, Les Enfants désaccordées, when he was eighteen and his first feature, Marie pour memoire when he was twenty-one. An explicitly political work about innocence thwarted by parental and state control that trades in the iconography of the Holy Trinity, Marie was the only one of Garrel's films to achieve any sort of international impact. Along with Godard's La Chinoise, Marie was an early manifestation of the spirit that would later explode into 'the events of May 1968.'" (Kent Jones, Film Comment)