The Filmmaking Saints: Claire Denis on Tarkovsky,Marker,and Returning to Super 8

Filmmaker Claire Denis,known for her poetic and frequently ⁢enough challenging work,doesn’t shy away from ⁤acknowledging the giants on whose shoulders she stands. But her influences aren’t just about technical prowess; they’re about a spirit, a freedom, and⁤ a willingness to experiment. In a recent interview, Denis opened up about the filmmakers who shaped her vision and her exciting return to ‍the tactile ⁢world of Super 8 film.

Early Discoveries and the Russian Masters

Denis’s relationship with cinema began unexpectedly. Growing up with a filmmaker neighbor sparked an early curiosity, but it ‍was a period of free access to films while attending cinema school in France that truly ignited her passion. “I knew the cinema when I was very ⁤young, because my neighbor was a filmmaker,” she recalls. “But I was a child, so I was not prepared to make films. When I went to cinema school here in France, I knew nothing about cinema history. But they gave us an ‍ID card so⁣ that we coudl go watch⁢ films for free.”

This access led her to a deep dive ‍into world cinema, particularly Russian filmmaking. “I spent a‍ lot of time in ⁤theaters to discover film, and they also had a videotape library. I watched Andrei ⁢Tarkovsky and started watching a lot of Russian cinema.” She also cites the masterful work⁢ of Japanese directors Kenji Mizoguchi and Akira Kurosawa, alongside swedish legend Ingmar Bergman and Polish auteur⁢ Krzysztof Kieślowski, as key influences.These filmmakers,each ⁢distinct ⁣in their style,offered a breadth of cinematic language that would inform her own.

Chris Marker: A “Saint of Cinema”

While many names populate her list⁢ of inspirations, one filmmaker stands⁢ out as ⁣particularly ⁤impactful: the late Chris Marker. Known for his experimental documentaries like La Jetée, Marker’s influence on Denis extends beyond technical filmmaking. “Maybe the best one for me is [the late low-budget French filmmaker] Chris Marker,” she explains. “Maybe not in terms of filmmaking, but when I have difficulty with shooting or editing, I think: ‘Hi, Chris, can ⁢you help me?’ And I hear him: ‘Don’t worry. Go test! Don’t worry.be ⁣free. Don’t respect the script. Change the pace of the sequence.'”

Denis’s affection for Marker is palpable. She describes him as “very strong for me,like a saint of cinema.Saint Marker.” This⁢ isn’t simply admiration for his films,but a connection to his ethos – a belief in experimentation,freedom,and trusting the process. It’s a testament to the power of mentorship, even one that exists solely in the realm of artistic inspiration.

The Banality of the Image and a Return to Super 8

Denis⁣ also reflects on the ⁢changing landscape of⁤ image-making. With cameras now ubiquitous, she acknowledges both⁣ the democratizing potential and ⁣the risk of visual ‍saturation. “Images and ‍sound‍ are very complex,” she observes. “When⁤ cameras can come into every hand, it’s good in one way as ‍everybody ⁣can record pictures.But also,images can become more and more banal.”

This concern is driving her latest project: a return to Super 8 filmmaking. Having started her career with the format, Denis feels a pull towards its limitations and the intentionality it demands.⁤ “I have a project. I wont to go back ⁤to Super 8. As a ⁤very young filmmaker,I⁤ made a Super 8 movie. And I want to go back to Super 8.”

However, she’s realistic about the challenges. “It’s very ‍expensive – 100 euros ($118) for [a film roll of] three minutes.”‍ But the‍ cost is precisely the point.⁤ “It’s interesting as you cannot shoot like when you use your phone. You need to⁣ think a ⁣little ⁣bit.” The limitations of Super 8 force a more deliberate approach, a slowing⁤ down that contrasts sharply with ⁤the endless ⁤possibilities of digital.

Seeking Innocence and Poetry

Ultimately, Denis’s return to Super⁢ 8 is about rediscovering a feeling, a connection to the roots of her passion. “I would like to find again my first love ‍or maybe the same sensation,” she says. She’s searching for something “more innocent,