{"product_id":"hanoun-octobre-madrid","title":"Octobre à Madrid","description":"\u003cp style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFormat \u003cstrong\u003eDVD Interzone\u003c\/strong\u003e\u003cbr\u003eOriginal format \u003cstrong\u003e\u003cspan\u003e16mm\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eYear \u003cstrong\u003e\u003cspan\u003e1964\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eLanguage(s) \u003cstrong\u003e\u003cspan\u003eFrench\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eArtist(s) \u003cstrong\u003e\u003cspan\u003eMarcel Hanoun\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eAuthor(s)\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e Emeric de Lastens\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eSubtitles \u003cstrong\u003e\u003cspan\u003eEnglish, Korean\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eBooklet\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e 20 pages (French, English)\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eRunning time\u003cstrong\u003e 63 min\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch4 style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cspan\u003eFilms\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eOCTOBRE À MADRID \u003c\/strong\u003e\u003cspan\u003e(1964) 63'\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cspan\u003eDescription\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\"\u003cem\u003eOctobre à Madrid\u003c\/em\u003e, by Marcel Hanoun (1964), is certainly the film that has haunted and nourished me the most for nearly forty years. With \u003cem\u003eOctobre à Madrid\u003c\/em\u003e, the filmmaker creates the first film that will serve as a matrix for an important part of his work: reflection on the camera as a tool and on cinematic writing dominate, creating a film out of psychology and dramatic continuity. The author transforms his hesitations, his doubts, and the difficult working conditions into constituent materials of the work. One of the first essay films of French cinema that must be seen urgently.\"\u003cbr\u003e\u003cspan\u003e— \u003c\/span\u003eRaphaël Bassan\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\"Although Hanoun devoted much of his career to representing mental operations and psychological disturbances as cinematic practice, \u003cem\u003eOctobre à Madrid\u003c\/em\u003e is singularly dense with traces of life outside the mind. It might best be described as 'a film about making a film about the inability to make a film,' but it nevertheless manages to touch something tangible and human in its playful self-reflexivity. It's almost a masterpiece for anyone intimately connected to the feeling of failure.\"\u003cbr\u003e\u003cspan\u003e— \u003c\/span\u003eDan Sullivan\u003c\/p\u003e","brand":"Marcel Hanoun","offers":[{"title":"Default Title","offer_id":56788880163147,"sku":"SQ8752785","price":19.9,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/processed_DVD--Octobre_a_CC_80_Madrid.webp?v=1773411461","url":"https:\/\/re-voir.com\/en\/products\/hanoun-octobre-madrid","provider":"Re:Voir","version":"1.0","type":"link"}