If he is not really damned, Guy Giles (1938–1996) is a completely forgotten director today. The advantage is that you carry out your work (without finally being restored and re-released) without the slightest priority … and that you instantly fall in love with it. The label Novel Veg hints at his style, daring acrobatic transitions from black and white to color, broken into tones, coordinated or even brutal editing. It generates part of its surprise at the level of beauty and may initially surprise. But where Gilles Gilles mesmerises us is his use of music (signed by his cousin Jean-Pierre Stora) and his ways of multiplying fixed shots – Kodachrome style when he opts for color – on flowers, in the shops. facades, illuminated signs and, above all, faces. In his first film “Love to the Sea” (1965) one of Genevieve Thenier and Daniel Mosman describes the suffering of a different couple, he is a sailor in Brest, he is a secretary in Paris. In search of his roots in Tunisia, Gora Pete’s Patrik Joune is carved by the Mediterranean Sun in “Le Clair de Terre” (1970). This young actor, body and belongings also disappeared, in 1999, at the age of 52, one finds him in the best film of this early trilogy: “Au Pan Coup” (1968). The teenager hit the road and disappeared into a dangerous frontier. His last companion misses him, imagines him, dreams. And it is here that the magic of cinema advances – on the faces of actresses filmed with passion by directors. Macha Méril’s is a scenario in motion, tender, anxious, distraught and lost. Love is immediate at first sight.
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