The central event in L’Amour Fou’s narrative is a three-week period of preparation by a theater group for a production of Racine's version of Andromaque. A crew films the preparations of the theater company in handheld 16 mm, while the rest of the film is shot in 35 mm. This framework allows Rivette to focus on the act of direction, in the formation of an artwork and the dissolution of a relationship. Anja Kirchner & David Panos started with films based on performance, that are in some way or another connected to “Living Truthfully....” in as much as they are films examining performance and performers.
L’AMOR FOU, Jaques Rivette
Alan J. Pakula’s Klute (1971) is the basis from which Allan Hughes takes his visual references. Hughes reconstructs one of the scenes with Bree Daniels (Jane Fonda) and the analyst and imposes vocal extracts from Fonda’s Radio Hanoi transcriptions. Jane Fonda’s identification with her character, Bree Daniels, in the film was deeply empathetic and in particular her understanding of the process of subjective authority that is intrinsically bound up with ideas of the relationship between body and voice.
Laurence Kavangh’s piece is taken from Alain Robbe Grillet’s novel Jealousy. The novel is a series of repetitive description of settings and objects that infer the psychology and interiority of the unseen narrator. Kavanagh interprets these encoded cinematic descriptions and recreates scenes through a three dimensional sculpture. This scene from Grillet’s film Trans-Europ-Express has an intensity and immediacy that is also present in his writings and is what Kavanagh recreates in his sculptures.