Nadja à Paris

[arbeka]

Nadja à Paris

((Ромеру 44 года, Альмендросу - 34, Наде было 25 (Умерла: 20 февраля 2014 г., Нью-Йорк, США).
Возможно, это рецепт, как делать короткий метр почти без денег.

17 минутная лента, сейчас, может показаться жутко наивной. Типа "Мой день" сообщества в ЖЖ. Трудно избавиться от ощущения, что это случайная студенческая курсовая. Количество сцен можно подсчитать. Их много.
Было бы забавно узнать, сколько за этим кроется работы, в отснятых метрах и трудобуднях.))
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«Надя в Париже» (фр. Nadja à Paris) — короткометражный документальный фильм режиссёра Эрика Ромера, снятый в 1964 году.
https://kinolook.top/movie/id23892-nadya-v-parizhe-nadya-tesich/online
"Первый фильм Ромера, снятый в сотрудничестве с оператором Нестором Альмендросом[1].

Американская студентка Надя, родом из Югославии, готовит в Париже диссертацию о Марселе Прусте.

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[belkafoto.livejournal.com]

Production

It is shot in a wider 1.66 aspect ratio, unlike the 1.37 Academy ratio of almost all Rohmer's other films, and has an intermittent musical score, which is rare in his œuvre. Again, though he normally wrote his pictures, in this case he is only credited with the story and the often barrack-room dialogue is by Paul Gégauff.[5] Unlike almost all his work, the plot revolves around three men, with the many women that are shown being incidental and virtually interchangeable.[citation needed] A Nouvelle Vague characteristic was to include cameos for fellow directors and favourite actors, and in this film one can spot Jean-Luc Godard, Stéphane Audran, Marie Dubois and Macha Méril.
Reception and influence

Though praised by other members of the Nouvelle Vague, including Jean-Luc Godard, who put it on his top ten for 1962,[6] it was slow to reach the English-speaking world, not being screened until 1966 in the UK and 1970 in the United States.[4]

A commentator noted how "the film is littered with painful moments" and that "with its depiction of one man's long physical and spiritual decline, Le Signe Du Lion recalls the great naturalist novels of Émile Zola as well as the works of American realists such as Theodore Dreiser. It marks Rohmer out as one of the most literary of New Wave directors - always devoting particular attention to his characters' complex emotions and inner thoughts."[4]

Another critic wrote that the film is "also a precise, poetic documentary on Paris, with the city turning into a stone prison that gradually crushes resistance until the musician suffers total moral and physical disintegration."[3]

Rainer Werner Fassbinder paid homage to it in 1966 with his first short film, Der Stadtstreicher.[7]