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Jean Eustache: el arte del cartógrafo Una antropología cinematográfica de los años 70
Como pocos cineastas, Jean Eustache encarna la década del 70. Su obra depende hasta tal punto de un determinado contexto cultural y político que sólo existe por y para él. En este sentido, sus films pueden verse como una disección precisa y lúcida de toda una época. Surgida en la estela de los nuevos cines de los años 60, la obra de Eustache señala el fin de la nouvelle vague. O acaso es una forma melancólica de reconocer que los nuevos cines no habían sido un comienzo sino un final.Ver artículo completo
Jean Eustache: el arte del cartógrafo Una antropología cinematográfica de los años 70
Jean Eustache is one of the most notable inheritors of the nouvelle vague. In this regard, he can be considered as an emblematic filmmaker of the 70s. But, usually, emblematic artists are those who manage to condense the outstanding questions of a specific moment: those who translate their context in a reliable and unsurpassable way, up to the extent that they behave as an interpretive key of History. The case of Eustache, however, is a singular one because his films head in the opposite direction: his work depends entirely on the zeitgeist of post-68 where it dwells. Its richness doesn't lie in the power to represent an era but in the weakness to exist beyond a specific historical situation. If -as Daney put it- La Maman et la putain is "the most beautiful French film of the decade", it is not the result of the filmmaker's elaboration of his era but of the passionate way in which he accepts to be inhabited by her.See full text
