Author Jean-Louis Comolli

Ginette Lavigne’s film offers a radical alternative to conventional uses of the sound/image dynamic.

A landmark interview originally published in Cahiers du cinéma in 1970. The journal was in the midst of its Marxist/Leninist era, while Rohmer's Bazinian idealism was vindicated by the success of My Night at Maud’s. A fascinating joust between two entirely opposed views of the cinema