It took Philippe Garrel over 30 years to excise his experience of May ‘68 in Regular Lovers, his three hour masterpiece from 2005. Shot in lush, high-contrast black and white by Rivette’s regular cinematographer, William Lubtchansky, and starring Garrel’s own son Louis as a directorial stand-in, the film is a quietly devastating anachronism, an object meticulously and lovingly styled to recreate the past armed with the defeatism of our modern understanding of post-’68 France. While a more contemporaneous response to the riots like the similarly epic
Regular Lovers (Philippe Garrel, 2005)
Regular Lovers (Philippe Garrel, 2005)
Regular Lovers (Philippe Garrel, 2005)
It took Philippe Garrel over 30 years to excise his experience of May ‘68 in Regular Lovers, his three hour masterpiece from 2005. Shot in lush, high-contrast black and white by Rivette’s regular cinematographer, William Lubtchansky, and starring Garrel’s own son Louis as a directorial stand-in, the film is a quietly devastating anachronism, an object meticulously and lovingly styled to recreate the past armed with the defeatism of our modern understanding of post-’68 France. While a more contemporaneous response to the riots like the similarly epic