Philippe Grandrieux

A serial killer stalks a woman he befriended after her car broke down.

After returning to Paris, a heartbroken man searching for his missing lover finds solace, and a passionate but troubled love, with a grieving nurse. This unconventional romance unfolds against a backdrop of music and defies expectations, venturing into uncharted emotional territory.

A young American drifts through a decaying Eastern European city, where his fixation on an elusive woman pulls him deeper into an underworld fueled by possession.

No synopsis available yet.

The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

A serial killer stalks a woman he befriended after her car broke down.

A serial killer stalks a woman he befriended after her car broke down.

After returning to Paris, a heartbroken man searching for his missing lover finds solace, and a passionate but troubled love, with a grieving nurse. This unconventional romance unfolds against a backdrop of music and defies expectations, venturing into uncharted emotional territory.

After returning to Paris, a heartbroken man searching for his missing lover finds solace, and a passionate but troubled love, with a grieving nurse. This unconventional romance unfolds against a backdrop of music and defies expectations, venturing into uncharted emotional territory.

A young American drifts through a decaying Eastern European city, where his fixation on an elusive woman pulls him deeper into an underworld fueled by possession.

A young American drifts through a decaying Eastern European city, where his fixation on an elusive woman pulls him deeper into an underworld fueled by possession.

No synopsis available yet.

The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

Unrest is the third movement of a triptych by Philippe Grandrieux whose common thread is anxiety. A body as a return from the depths of time, an archaic body that we do not know and which nevertheless continues to project in us its shadow, its anxiety.

A handheld video camera explores image-surfaces as a visual collective unconscious: a TV screen, Polaroids, photos. A conceptually and formally compelling film about the idea of change, the loss of a revolution, the defying memory of the 70s decade.

The action unfolds in a country about which we know nothing, a land of snow and forests, somewhere in the North. A family lives in an isolated house near a lake. Alexi, a young, pure-hearted man, is a woodcutter. Occasionally suffering from epileptic seizures and overcome by an ecstatic state, he is one with the nature around him. Alexi is very close to his younger sister, Hege. Their blind mother, father, and younger brother, silently observe this uncontrollable love. One day a stranger arrives, a young man slightly older than Alexi.

The action unfolds in a country about which we know nothing, a land of snow and forests, somewhere in the North. A family lives in an isolated house near a lake. Alexi, a young, pure-hearted man, is a woodcutter. Occasionally suffering from epileptic seizures and overcome by an ecstatic state, he is one with the nature around him. Alexi is very close to his younger sister, Hege. Their blind mother, father, and younger brother, silently observe this uncontrollable love. One day a stranger arrives, a young man slightly older than Alexi.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

In the second part of the trilogy on anxiety (in continuation of White Epilepsy), the only light source that reflects on the screen is the naked human body. Its surface, full of bones and muscles, flexes and vibrates in a frantic rhythm. The livelier the reflection, the deeper a viewer feels his/her mortality, as he recognizes between the convulsions the forces he/she cannot control.

It was made by a group of filmmakers- three men and three women- just to catch a glimpse of a stylish milieu unknown to most. Enticing top models such as Jerry Hall and Ines de la Fressange prepare to be catapulted on the catwalk; hairdressers, photographers and a whole armada of people prepare the show. The 10 designers are: Issey Miyake, Karl Lagerfeld, Angelo Tarlazzi, Tan Giudicelli, Jean-Paul Gaulthier, Marithé and François Girbaud, France Andrévie, Claude Montana, Kenzo, and Thierry Mugler. Nostalgia for the fashionistas.

An installation presented on 11 screens featuring nude human figures engaged in cathartic performance.

A FICUNAM commission for four directors, Liminal seeks to play with poetic affinities between film and music. Moving across aesthetic and generational differences, the film-makers explore this relationship through four distinct stories as to context and imaginary.

A FICUNAM commission for four directors, Liminal seeks to play with poetic affinities between film and music. Moving across aesthetic and generational differences, the film-makers explore this relationship through four distinct stories as to context and imaginary.

Third part of an experimental television program led by Grandrieux questionning TV flux aesthetic, this film focuses on a single interview with Jean-Louis Schefer who delivers his hypothesis on man-made images of itself.

In the vision of Philippe Grandrieux, the director of Tristan und Isolde, the latter is the driving force behind the passionate drama of Tristan and herself. She is an erotomaniac who wants to possess and swallow him whole. Philippe Grandrieux's direction focuses on Isolde's desire and not the desire of both of them (as classical literature usually reads Wagner's opera).

In the vision of Philippe Grandrieux, the director of Tristan und Isolde, the latter is the driving force behind the passionate drama of Tristan and herself. She is an erotomaniac who wants to possess and swallow him whole. Philippe Grandrieux's direction focuses on Isolde's desire and not the desire of both of them (as classical literature usually reads Wagner's opera).

Where do images come from? This disturbing and essential question is posed by Philippe Grandrieux, and he already imposed it on himself the start, via Sombre (1999) up to the portrait recently devoted to Masao Adachi (FID 2011). From where, then? Maybe from the depths behind our eyes, ungraspable visions, night in suspension, promise of the end of an eclipse, between dream and nightmare. This is the start (and in truth the programme) of White Epilepsy. In a darkness barely broken by light, a mass advances: a nude back, in a long shot entirely centred on the shoulders.

No synopsis available yet.

Portrait made for the magazine Brut.

No synopsis available yet.

Inspired by the dominant motif of the novel by the great Austrian writer Adalbert Stifter, "L’Arrière-saison" is a diptych about roses.

For a series of programs made for TV Fnac, Philippe Grandrieux meets different people who tell us, each in their own point of view, a story of images. After Paul Virilio (The World is an image) and before Jean-Louis Schaeffet, Le Trou noir (AKA The Black Hole) gives us the enlightened reflections of psychanalyst Juan David Nasio about real and reality.

No synopsis available yet.

No synopsis available yet.

Extract from the program "Juste une image" produced by Thierry Garrel and directed by Philippe Grandrieux.

Portrait of a popular game in Brazil

No synopsis available yet.

A week after the Dayton accords, Phillipe Grandrieux visits Sarajevo accompanied by Sada, a Bosnian who is returning home after four years of exile.