Jean-Philippe Tessé

Jean-Philippe Tessé (1977) is a French journalist and film critic. He started working for Cahiers du Cinema in 2001. Between 2009 and 2020 he was its joint editor-in-chief, together with Stéphane Delorme. Until 2009, he was in charge of the cinema section of Chronic’art. He acted in two films by Catherine Breillat, Une vieille maîtresse (2007) and La belle endormie (2010).

The Cinema of Víctor Erice

Jean-Philippe Tessé, 2006

Cinema, for Erice, ages at the very moment of its birth, it never stops putting those first sensations at a distance. And there is no remedy for this loss, certainly not the one that would consist in reproducing something, as one places a sheet of tracing paper to reproduce a drawing. From his cinema Erice has banished forever the re-creation, pastiche, the incestuous and vain reference. Instead, he explores dream images, the imaginary, the empire of spectres and sometimes the captivating incarnation of Spirits.

A Conversation with Hong Sang-soo

Emmanuel Burdeau, Jean-Philippe Tessé, Antoine Thirion, 2004

“For me, a film is good if it provides me with new feelings and modifies my way of thinking. That is why form is so important for me. We all share the same material. But the form we use, leads to different feelings or new ways of questioning, to new desires. So I don’t think I can be defined as formalistic or realistic. These categories simplify things. My first three films could be called formalistic, the last ones a little less so. I am only conscious of my desires.”

Jean-Philippe Tessé, 2015

Als een schaduw wordt de toeschouwer aangemaand te volgen, met als beloning de zekerheid niets gemist te zullen hebben: geen enkele verborgen hoek van het kamp, niets van het protocol van de vernietiging (gaskamer, crematorium, vuurpeloton), zelfs geen enkel ‘historisch’ moment (denk hier aan de episode met de foto, ingevoegd als een aanvullend moreel onderpand, genomen door de Sonderkommando’s en geanalyseerd door Georges Didi-Huberman in Images malgré tout). Son of Saul is geritmeerd en gestructureerd als een rondleiding: men volgt de gids, in looppas – ‘zonder (zich) vragen te stellen’.