Film reviews, interviews and features from Little White Lies

Overdrive: The Films of Léos Carax - Harvard Film Archive February 15 - February 24, 2013 “It’s incredible how much cinema can do. We forget.” – Leos Carax When he released his first film in 1984 at the age of 23, Leos Carax was heralded as some sort of cross between Rimbaud and Antoine Doinel (of The 400 Blows) – part prodigy and part enfant terrible, a creature of the cinema. The film’s lead actor, Denis Lavant, reappeared in Carax’s next two films, always playing a romantic young man named Alex. As if the bigger-than-life ambition of The Lovers on the Bridge had brought this cycle to fruition, and the difficulties of the film’s production taken their toll, Carax waited several years before making another movie, Pola X, his only work without Lavant. Initially Carax was often compared to two other French filmmakers from the 1980s: Jean-Jacques Beineix (Diva) and Luc Besson (Subway). A critics’ favorite here and in France, Carax also arouses cult-level enthusiasm in his fans on both sides of the Atlantic, and it’s not hard to see why. Pola X

Panic Movement The movement's violent theatrical events were designed to be shocking,[2] and to release destructive energies in search of peace and beauty.[3] One four-hour performance known as Sacramental Melodrama was staged in May 1965 at the Paris Festival of Free Expression. The "happening" starred Jodorowsky dressed in motorcyclist leather and featured him slitting the throats of two geese, taping two snakes to his chest and having himself stripped and whipped. Other scenes included "naked women covered in honey, a crucified chicken, the staged murder of a rabbi, a giant vagina, the throwing of live turtles into the audience, and canned apricots References[edit] Bibliography[edit] Arrabal, Fernando (1973).