The example of Iranian cinema in the 1990s and Romanian cinema from 2007, as in the small movies that were in vogue in a particular period, most cinema Switzerland enjoyed its glory in the 70s With names like Claude Goretta (‘The Lacemaker’) and Daniel Schmid (‘The Dove’). But who best represented this little cinematography, no doubt, Alain Tanner was born in Geneva in 1929 and died in the same city this Sunday at the age of 92.
He is not only the director of the most well-known films of Swiss cinema, such as ‘Dead or Alive Charles’ (1969), ‘The Salamander’ (1971), but also ‘Jonah who will turn 25 in 2000’ (1976) and ‘Messidor’ (1979). He was also the main supporter of the theoretical and practical renewal of cinematography in his country, but in France, Ireland – ‘A años luz’ (1981) -, Portugal – shot ‘En la ciudad blanca’ (1983). ), one of his most valuable films – or Spain: He shot ‘The Man Who Lost His Shadow’ with Francisco Rabal and Ángela Molina in Cabo de Gata in 1991 and ‘The Diary’ in 1992 in Barcelona and various Catalan locations. With Lady M’, Myriam Mézières and Juanjo Puigcorbé.
Formed with Goretta in the early 1950s. A movie club in Geneva and later coincided with an extended stay in London, where they made the short ‘Nice time’ (1957) framed in the sessions that would give birth to the Free Cinema movement. Tanner and Goretta acted as ‘voyeurs’ of everyday London reality by filming the event at Piccadilly Circus with a hidden camera.
independent Swiss cinema
In Switzerland, both were supporters of the so-called campaign. group of 5completed by Jean-Jacques Lagrange, Michel Soutter and Jean-Louis Roy. The idea was to reactivate an independent, ideologically committed and aesthetically groundbreaking Swiss cinema. But with Roy and Lagrange barely directing two feature films, Soutter was a bit more influential and began working with Jean-Louis Trintignant on two films, and Goretta was eclipsed after ‘The Lacemaker’ although she continued to work until her death in 2019. Only Tanner’s work exceeded.
maybe they ‘Salamander’a portrait of a generation starring the spiritual Bulle Ogier and Jean-Luc Bideau (the best known face of Swiss cinema) and ‘Jonah, who will turn 25 in 2000’Always steadfast in his beliefs about class difference, intellectual uprooting, self-exile, cultural conflict and cultural conflict between the first and third worlds, this filmmaker’s work is best described by the post-May 1968 hangover and disillusionment. Gentrification of Swiss society.
During these early years, she worked with some of the most radical French actresses of the time, such as Juliet Berto and Anne Wiazensky, both in ‘Le retour d’Afrique’ (1973). Inside ‘Messidor’ They crystallized their ideas about class difference by describing the journey of a college student and a store clerk ‘on the road’. ‘In the White City’ starring Bruno Ganz in Lisbon traced the director’s nihilistic limitations. She entered the cinema and life of the French actress and singer with ‘Una lama en mi corazón’, which started in 1987. Myriam MezieresHe co-directed the movie ‘Flores de sangre’ (2002). In ‘Jonás y Lila’ (1999), Jonás returned to his character when the hero described in the previous film was about to turn 25. He closed his work with ‘Paul s’en va’ (2004), about the disappearance of a former leftist militant from the 70s.