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  bateau ciseau
bateau ciseau - karaoke bateau ciseau - karaoke bateau ciseau - karaoke
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  karol - le bateau blanc
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  bateau chute
bateau chutes bateau chutes bateau chutes
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  oh mon bateau! eric morena
le videoclip le plus kétaine du monde! enfin à votre portée! le videoclip le plus kétaine du monde! enfin à votre portée! le videoclip le plus kétaine du monde! enfin à votre portée!
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  tri factor & bateau lavoir, 2shot7
first time meeting of the two groups; billy bang, hamiet bluiett, thomas campaert, giles thomas, patries wichers, kahil el zabar, visuals by markus hansen. http://bateaulavoir.org first time meeting of the two groups; billy bang, hamiet bluiett, thomas campaert, giles thomas, patries wichers, kahil el zabar, visuals by markus hansen. http://bateaulavoir.org first time meeting of the two groups; billy bang, hamiet bluiett, thomas campaert, giles thomas, patries wichers, kahil el zabar, visuals by markus hansen. http://bateaulavoir.org
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  celine et julie vont en bateau -1/20 -
subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-.
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  celine et julie vont en bateau -2/20-
subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-.
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  celine et julie vont en bateau -3/20-
subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-.
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  celine et julie vont en bateau -4/20-
subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-.
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  celine et julie vont en bateau -10/20-
subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-. subtitled. aka: celine and julie go boating or phantom ladies over paris. france, 1974, director: jacques rivette ; screenplay: eduardo de gregorio, juliet berto, dominique labourier, bulle ogier, marie-france pisier, jacques rivette, with sections based on original stories by henry james; photography: jacques renard, michael cenet; music: jean-marie senia. cast: juliet berto -céline-; dominique labourier -julie-; bulle ogier -camille-; marie-france pisier -sophie-; barbet schroeder -olivier-; philippe clévenot -guilou-; nathalie asnar -madlyn-; marie-thérèse saussure -poupie-; jean douchet -m. dédé-; adéle taffetas -alice-; anne zamire -lil-; monique clément -myrtille-; jérôme richard -julien-; michael graham -boris-; jean-marie sénia -cyrille-. umberto eco has suggested that a key factor in a work's status as a cult object is its disjointedness, which allows viewers or readers space into which they can project their own fiction-making skills. this partly explains why rivette's loose, baggy fantasy is arguably the only genuine cult film of the nouvelle vague. but céline et julie further has in its favour a celebratory image of its heroines as subversive fabulists in their own right, and a uniquely serious frivolity that makes the film an enormously pleasurable fictional do-it-yourself kit. from the title onwards, the film appears to celebrate child-like leisure and gratuitousness. the heroines do, at the end, literally go boating, but aller en bateau also means to be taken for a ride, to be told a shaggy dog story; this tale is a winding river on which we, like julie, are led into uncharted territory. the film begins with her sighting the elusive céline, who, in one of many allusions to alice in wonderland, is the white rabbit leading her into a narrative labyrinth. becoming friends, counterparts and arguably lovers, they make a series of visits to a mysterious house in which a family of 'ghosts' continuously reenact a melodrama, as if trapped in their own dislocated matinee performance. this uncompleted story concerns an endangered little girl, and its heroine, an empty role to be filled by céline and julie, is her nurse and rescuer miss angèle terre -mystère, but also mise en gel - frozen-. there are two -by no means incompatible- dominant critical views of the film. one sees it as a self-reflexive commentary on the pleasures of cinema and the spectator's active role. for the other it is an exemplary feminist narrative in which two women control the fiction-making process and challenge male orders of various kinds? including that centred around the myth of the omnipotent director. the film's authorship belongs as much to the two leads as it does to rivette, whose role, according to juliet berto, was akin to surgery, cutting the material they provided into a coherent, if wilfully ragged pattern. the main writing was undertaken by berto and labourier, who planned their characters and the overall narrative shape with rivette; eduardo de gregorio provided the structure for the interpolated narrative, drawing on henry james's stories the other house and a romance of certain old clothes. with the exception of one improvised scene -céline lets her mythomania run riot on her incredulous friends-, what appears to be improvisation was in fact thoroughly scripted before shooting. in the narrative as much as in the process of making the film, improvisation?an effect rather than a fact of performance?can be seen as an inventive engagement with a predetermined form, a sort of manoeuvring around a written score that constantly demands to be remade, just as the fragmentary story in the house is constantly reshaped, jigsaw-fashion. despite the apparently ad hoc nature of its conception -rivette and berto got the project going from scratch when another film fell through-, céline et julie has a central place in rivette's oeuvre. it is one of many films -from paris nous appartient to his 1995 musical haut bas fragile- in which young women contest patriarchal orders by throwing themselves into intrigues as fiction-makers. it is one of many in which the performers contribute to the writing, and in which the characters appear to evolve from their personalities. and, although the film could be read as being exclusively about cinema, it also concerns the relation between the real world and theatrical performance within an enclosed space. where l'amour fou and others are built around specific plays, the exorcism of the house is theatre in broader terms -as the two women play angèle, we hear audience applause-.