Films byTexts by 1949
Late Spring
Yasujirô Ozu, 1949, 108’

Noriko is perfectly happy living at home with her widowed father, Shukichi, and has no plans to marry – that is, until her aunt Masa convinces Shukichi that unless he marries off his 27-year-old daughter soon, she will likely remain alone for the rest of her life.

John Ford, 1949, 104’

« Ford serait humaniste par désespoir, comme Mizoguchi. Lorsqu’on a ajouté tout à rien et que la somme reste égal à rien, il ne reste qu’à jouir et à jouer du mince privilège du ‘pithécantropus erectus’ : la station debout, la pose, la tenue.

Samuel Fuller, 1949, 81’

“I think that if you don’t like the films of Sam Fuller, then you just don’t like cinema. Or at least you don’t understand it... The first Sam Fuller movie I ever saw was his first, too. I was seven years old, and I’d seen a preview for I Shot Jesse James.

Carl Theodor Dreyer, 1949, 10’

“In summer 1947, Dreyer wrote to the head of Dansk Kulturfilm, Ib Koch-Olsen, to suggest a short film about the sculptor Bertel Thorvaldsen (1770-1848).

The Magicians of Wanzerbé
Jean Rouch, 1949, 34’

« La caméra n'a servi ici que de crayon pour enregistrer ce que la main ne peut noter. 

L'observateur s'est contenté de filmer les scènes de la vie de tous les jours d'un village de magiciens noirs, sans en provoquer une seule, et sans même tenter le moindre truquage. »

Maya Deren, 1949, 12’

“Shaolin shadowboxing and the Wu-Tang sword style. If what you say is true, the Shaolin and the Wu-Tang could be dangerous. Do you think your Wu-Tang sword can defeat me?”

Jacques Tati, 1949, 70’

“It makes me sound old-fashioned, but I think I am an anarchist.”

Jacques Tati


“In a normal world, one would go out and walk into just any theater to see a film by Jacques Tati. Or Chaplin.”

Pedro Costa