At once a tribute to Dreyer and to Jean Seberg, Les Hautes Solitudes (a film shot almost entirely in close-ups) might well be subtitled ‘The Passion of Jean Seberg’. Inaugurating Garrel’s 1970s series of portraits of the female face, and for once not focusing exclusively on the face of Nico, this work came about through Garrel calling daily to Seberg’s home, where, like a painter’s model, she would pose for his camera. Unlike the still posturing of a typical artist/model exchange, Seberg would improvise a series of dramatic attitudes and gestures. As Stephane Delorme has written, ‘Les Hautes Solitudes constitutes an extraordinary document on what an actress is, her capacity for permanent improvisation.’
France, 1974.
Silent.
Colour.
80 mins

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Les Enfants Desaccordes, Garrel’s first film, about a runaway adolescent couple
France, 1964.
Black and White.
15 mins.
In French