Powell & Pressburger and Jean Eustache. The 36th Torino Film Festival – 23 November through 1 December 2018 - will dedicate two
retrospectives to these filmmakers. Numbering among cinema’s greatest visionaries, Michael Powell (English director and producer) and Emeric
Pressburger (Hungarian-born writer) constructed a run of films between the late 1930s and the early 1960s that
engaged the viewer’s subconscious. The cinema
of Powell & Pressburger, “The Archers” (as their production company was known) of desire, passion, and excess, fascinated and influenced filmmakers of later generations like Scorsese, De Palma, and Coppola.
The retrospective will show the 20 films they made together: an odd war film
which garnered Pressburger an Oscar for Best Story (49th Parallel), a romantic fresco and favorite of Bertrand
Tavernier (The Life and Death of Colonel Blimp), obsessive pursuit of passion (Black Narcissus), hallucinatory comings
and goings in the Netherworld (Stairway to Heaven, aka A Matter of Life and Death), luxuriant demonism (The Tales of
Hoffmann), plus several films Powell made alone, including Peeping Tom, his cursed masterpiece.
The Festival shows its hardnosed, gaunt, moral, “entomological” side in the retrospective of a French filmmaker who
died too young (in his early 40s in 1981) and is too often forgotten: Jean Eustache. “Kid brother” of the Nouvelle
Vague auteurs, he made his directorial debut with the uncompleted short film La Soirée and then went on to make
medium-length and feature films including Mes petites amoureuses, Une sale histoire, and La maman et la putain
(1973), a masterpiece on the ineffectiveness of words, the vagueness of feelings, emptiness, bodies, and the essential
morality of cinema.
He was often marginalized by the mainstream industry because less obliging and more “cruel”
than the Nouvelle Vague masters, enamored of Bresson’s rigor and Renoir’s vigor. Eustache never stopped exploring
the dynamics between the apparent realism of the inquisitive camera and the fiction that occurs as soon as the
camera starts to roll, between autobiography and representation. His malaise and his analytical skills have influenced
such contemporary filmmakers as Assayas, Denis, Desplechin, and Jarmusch. The retrospective will show all his films.