Some filmmakers start small, with personal, independent projects, and work their way up to bigger budgets, bigger crews, bigger audiences. Not Alain Cavalier. A protégé of Louis Malle, whom he assisted on Elevator to the Gallows and The Lovers, Cavalier (b. 1931) began his career in the early sixties with films that, although they took on challenging political themes, were relatively traditional in method: they had narrative scripts, professional crews, and trained actors. Over the years, he has moved away not only from overt politics and fictional storytelling but from anything resembling conventional methods of production. His works of the past decade are acutely personal and resolutely small-scale—the better to capture the fullness of life, in all its detail.
This series skips through Cavalier’s career, rediscovering his contribution to the New Wave in Le combat dans l’île and featuring his greatest success, the modestly sublime Thérèse, which won a Special Jury Prize at Cannes. The bulk of the films here are portraits—of strangers and friends and of Cavalier himself, along with Françoise Widhoff, his collaborator, costar, and sometimes cantankerous muse. In chronicling his own and others’ experiences, Cavalier unites the process of filming with the process of living. The resulting documents are banal and beautiful, goofy and profound, never anything more or less than human.
Juliet Clark
Editor