Directing

David Wharry

Born in the United Kingdom in 1950, lives and works in France since 1975. Since 1978 David Wharry has been working on GENERAL PICTURE, an evolving work currently made up of about twenty “episodes”. These films can be shown together, separately or in different orders. GENERAL PICTURE explores the fundamental components of the cinematographic spectacle and in particular its theatrical aspect, the notion of projection, the relationship between the projected image and the spectator. In this crime (wanted by its main accomplice, the spectator) GENERAL PICTURE involves different genres of commercial cinema, and its structure and its narrative interweaving allow and generate this freedom of movement without guilt.

Acting credits

No synopsis available yet.

Chutes de Feuilles d’été

1983

Teo Hernández films some friends in a park under the Parisian summer heat.

Feuilles d'été

1983

Behind the camera

Professor Anatole Lacoste is having a meeting with one of the agents of doctor Brain at a Jackson Pollock exhibition at Centre Pompidou. Meanwhile, Deborah is about to take a bath when burglar Torlim Novak breaks into her house. Everything seems to be normal when the computer at the control station spots an anomaly in the way history functions. But how does one stop the film?

European Crisis

1982

The shadow of an opening door sweeps across the floor...

Dawn Patrol

1978

Dreams: that cinema of the mind in which we are both spectator and protagonist, where anything is always seamlessly possible, where the most implausible encounters are commonplace.

Dream

2021

On a coffee plantation near Havana in the early 19th century, a slave’s impossible love for the owner’s daughter.

El Cafetal

1981

No artwork available

The intermission.

Interlude

1980

No artwork available

No synopsis available yet.

Wishful Thinking

1978

No synopsis available yet.

Carlton Dekker

1986

The actors: a projector, a screen, a voice, an audience and a cinema. The locations: “here” and “there.” The situation: an audience is sitting in the dark in a cinema. The film begins when the projector is switched on. The projector is running empty, projecting only a bright white rectangle on the screen. The action begins when the voice asks the audience: “Are you there?” “Yes, you’re there,” the voice replies for us. “But one day you won’t be there, will you?” The voice isn’t “there.” Where is it? “Here.” Where? On the other side of the screen. The voice then asks us to project ourselves into a scenario, into the film of that inevitable eventuality we all prefer not to think about: the passage from one side of the screen to the other, from being “there” to “no longer being there,” from “here” to “there.” And what better place to do this than in a cinema?

The Screen

2021

No synopsis available yet.

Phaeton

1978

No artwork available

Shot-by-shot description of John Boorman’s neo-noir film (1967), starring Lee Marvin, co-starring Angie Dickinson, Keenan Wynn and Carroll O’Connor.

Point Blank

2018

No artwork available

Structuralist film using multiple photographs of a number of people projected at varied speeds against multi-colored backgrounds.

Horizontal Hold

1977

No synopsis available yet.

For Eyes Only

1978

Anatole Lacoste and the Eye of the Squid General Picture – Episode 13 On his return to Paris after his discovery of the tomb of the giant squid Kheptar in the Nile Valley in Nubia, the Egyptologist Professor Anatole Lacoste falls into the hands of the malevolent Venezuelan scientist Madeleine Varga…

Anatole Lacoste et l'oeil du calamar

2023

What do you remember about a film when you haven’t seen it for ten years? James McCourt’s memory is prodigious. In an office in the Rockefeller Center in Manhattan, the American writer recounts his favourite film, Douglas Sirk’s 1956 melodrama WRITTEN ON THE WIND, scene by scene, sometimes almost shot by shot.