Apenas dois filmes realmente baudrillardianos (na forma de "uma enxurrada de metáforas negativas") na história do cinema.

Um deles é Sans soleil.

O outro certamente não é Demonlover ou qualquer coisa feita por um pereba rasteiro como o Assayas.

Revolta e ternura

A revolta não consiste necessariamente em apontar a arma contra os agentes de uma sociedade deteriorada, em defesa daquilo e daqueles que se preza (esse pode muito bem ser o gesto de ternura); a ternura não consiste em filmar um casal de adolescentes que a sociedade colocará em conflito (isso pode muito bem ser o registro de uma revolta).

Gérard Blain, grande dialético.

When he returned in France, Cahiers was in the midst of its Maoist period, and Jean-Claude cautiously stayed away from these turbulences. He did not write again until after a certain "normalization" took place, and it's then, I think, that he made real progress in critical writing, comparable to that of Daney and Scorecki. In addition to the discovery of certain auteurs (e.g., Douglas Sirk), all three of them felt that cinephilic experience was about to change radically and that it was important for film criticism not to be left in the lurch. In the case of Skorecki this understanding resulted in the radicalization of the discourse of "Against the New Cinephilia." With Biette, we witness a total overhaul of the critical arsenal — on the one hand, television is here, undeniably; on the other hand, films arrive at the movie theatre more and more disfigured by publicity, promotion, rumors, both positive and negative. Biette then puts everything on an equal footing: all films, old as well as new, and all spaces of viewing, the theater screen or the TV screen. Making already the distinction between the present and the current, between what will remain and what will fade.

(...)

On the other hand, I was secretly guided by the idea that Biette — by his discreet force, his critical humor, and the immense talent of a filmmaker refusing the posture of an artist — could represent this lost generation, caught between the Nouvelle Vague and the 1990s, whose experiments, both formal and political, show an audacity that renders null and ridiculous quite a number of postmodern pseudo-extravagances. It is necessary then for Biette's films, as well as those of Vecchiali, [Adolfo] Arrietta, [Marie-Claude] Treilhou, [Jacques] Davila, etc., to come out of the shadows and out of silence. I would add here the video phase of Godard, Rivette's Out 1 and Les Filles de feu, and Chabrol's films from 1966 to 1979, so little known.

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Voir le monde avec Jean-Claude Biette

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Jean-Claude Biette : carte blanche imaginaire

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Trafic a 20 ans : entretiens avec Serge Daney, Jean-Claude Biette/Bienvenue Mister Chance