

Paris, 1927. The gendarmerie archives still smell of benzene and panic; somewhere between the dossiers on anarchist bombs and absinthe poisonings, a single canister of nitrate survived. Inside it: nine reels of cobalt hallucination titled Marie chez les fauves. For ninety-six years the print slumbered like a benzene-s...

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Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Jean Durand

Vernon Stallings
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" Paris, 1927. The gendarmerie archives still smell of benzene and panic; somewhere between the dossiers on anarchist bombs and absinthe poisonings, a single canister of nitrate survived. Inside it: nine reels of cobalt hallucination titled Marie chez les fauves. For ninety-six years the print slumbered like a benzene-soaked phoenix, waiting for a spark. When the Cinémathèque finally threaded it through a hand-cranked Bauer last month, the auditorium walls perspired. I was there. My pulse still h..."
Jean Hamon
Jean Durand, Jean-Louis Bouquet
France

1928 · IMDb 6.4


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