Pack 4 DVDs Marcel Hanoun - Les Saisons

Get the 4 titles from Marcel Hanoun's LES SAISONS collection all together at a special reduced price.

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L'HIVER
“One could spend forever unraveling this endless net, so tightly woven with signs and echoes, which becomes richer with every viewing. Hanoun’s formal investigation of the fragment and the (almost subliminal) flash frame, of very slightly altered variations and repetitions, which he applies to situation as much as to dialogue (often repeated, either within the same shot or from a different angle) reveals something of the interiority of film, of its creator’s unconscious, which becomes that of his characters. This structural resemblance to a Russian nesting doll should not confuse; it’s rather the contrary of this detachment with which the film ends. The more Hanoun compresses his dreams of dreams within dreams (films), the closer he gets to intimacy.”
-Emeric de Lastens

L'ÉTÉ
“...‘Who creates? And for whom?’ What is important is that Hanoun does not answer these questions in a grandiloquent way. On the contrary, far from showing a series of dramatic actions, he focuses on the in-between moments in the life of his beautiful young protagonist. He plays with fragments of the scene, reframing the image, using frames (doors, windows, a mirror as a tableau vivant) and all of this confronts the viewer with a sort of catalog of repetitive acts, where drama and character development are absent. These moments characterized by their pure banality end up permitting the real subject to slip through the cracks of the narrative... a whole series of scenes, sequences, images, that any other director would have cut, eliminated, removed, because they contributed neither to the narrative’s suspense nor its climax, nor to its dramatic progress, but which, because of the distance established, permit Hanoun to reveal the key, the meaning of his film: the confrontation, the controversial relation between desire and reality. In this way, the questions — Who creates? And for whom? — are reformulated in a more precise way: what one wishes for and how one seeks to change reality to satisfy this desire.”
-Nacho Cagiga, "The Inner Look. Marcel Hanoun’s Cinewriting"

LE PRINTEMPS
“Le Printemps is one of those rare films which is on par with the modern novel... For example, the film loops in on itself, as does the 360° panoramic shot at its end.. It’s full of analogies, resemblances, auto-quotations. Above all, its a film whose pretext — a human interest newspaper clipping — remains merely a pretext; whose essence consists of what Barthes called the catalysis, ie: all elements which are not directly part of the story but which, on the contrary, slow it down and subvert it. Hanoun’s efforts are dedicated to divorcing his film from the domain of literary fiction and bringing it closer to painting and music.”
-Dominique Noguez

L'AUTÔMNE
“L’Automne transforms filmmaking, usually an art form based on movement, into an art of immobility; an anti-cinema, for those who expect punch-ups, car chases or western stampedes; an alternative cinema, for those who realize that the apparent immobility of L’Automne is not immobility at all. The intensity of those two pairs of eyes, watching — those eyes most definitely know how to see. We can see them. We can tell, from the look in those eyes, that we are witnessing the most absorbing stage in the creation of a film — the point at which everything is still to be defined and all questions can still be asked.”
-Jean Louis Bory, Le Nouvel Observateur