The best Aurore Clément’s documentary movies
We present our ranking of the best Aurore Clément’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about Aurore Clément.
La traversée du désir
5.7/10
What was your first desire? What did you long for most? Arielle Dombasle put these questions to a wide circle of famous people.
Gray House
6.5/10
A silent fisherman in Texas, a blazing oil field in North Dakota, a mysterious community in Virginia, a women’s prison in Oregon, and a modernist home in California are the ostensible subjects of Austin Lynch and Matthew Booth’s new feature, GRAY HOUSE. But as meditations upon nature, isolation, decadence, and destitution, they are flawless conduits for seamless blends of documentary and narrative form, and stunning explorations of sound, image, and cinematic time. Mysterious and elusive, yet possessing an aesthetic and sensory unity (appearances by Denis Lavant, Aurore Clément, and Dianna Molzan mix with direct addresses from real-life laborers and inmates), GRAY HOUSE quietly recalibrates one’s sense of the world and our place within it.
The Making of Marie Antoinette
6.8/10
A behind the scenes look at Sofia Coppola's Marie Antoinette (2006).
I Don't Belong Anywhere: The Cinema of Chantal Akerman
7.2/10
I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.
Letter from a Filmmmaker: Chantal Akerman
6.4/10
A filmmaker’s self-portrait, asking hard questions of herself and of us. Invoking Aurore Clément as a kind of stand-in or proxy, a glamorous counterpart to Akerman who sports a drawn-on moustache. What is cinema for? Who is it for? If the Mosaic prohibition on making graven images includes film images, then where does that leave a Jewish filmmaker?
The Eighties
6.9/10
All of the time and effort put forth to stage a musical is chronicled here in this bright and funny French outing. The story is set at a shopping mall where people audition for an upcoming show. Afterwards, they are seen going through the grueling routines of learning the music and rehearsing.
Entretien avec Aurore Clément
"Aurore, my friend, Aurore, the main actress of Rendez-vous d'Anna and other films of mine, our meeting, the why and how of our joint work". – Chantal Akerman
