[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F18199:{\"language\":\"fr-FR\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":7,"birthday":8,"deathday":9,"gender":10,"homepage":11,"id":12,"imdb_id":13,"known_for_department":14,"name":15,"place_of_birth":16,"popularity":17,"profile_path":18,"combined_credits":19,"images":1048},false,[6],"André Sylvain Labarthe","André Sylvain Labarthe, né le 18 décembre 1931 à Oloron-Sainte-Marie et mort le 5 mars 2018 dans le 20e arrondissement de Paris, est un critique de cinéma, producteur, réalisateur et scénariste français.  André S. Labarthe commence sa carrière de critique cinématographique dans les années 1950. Il rencontre André Bazin qui le sollicite pour rejoindre la rédaction des Cahiers du cinéma en 1956. Il découvre le cinéma sans avoir la passion débordante pour le septième art de Jacques Rivette ou François Truffaut qui font déjà partie de la revue. Son regard critique va seul décider André Bazin à l'intégrer à l'équipe.\n\nMembre discret et secret de la Nouvelle Vague, en marge de la marge, Labarthe est un esprit solitaire en perpétuelle ouverture sur le monde, associant librement le cinéma à la psychanalyse, au surréalisme, à la danse, à la littérature, à l'érotisme.\n\nÀ l'instar de ses collaborateurs, André S. Labarthe partage la même admiration pour certains réalisateurs tels que Jean Renoir, Howard Hawks ou John Ford. Il demeure aussi très attentif au cinéma émergent et participe à la promotion de la Nouvelle Vague et des nouveaux réalisateurs américains indépendants (John Cassavetes, Shirley Clarke). Ses dispositions à cet égard l'amèneront aussi à défendre le jeune cinéma italien, parfois contre l'avis de certains de ses confrères.\n\nEn 1964, il entame la collection «Cinéastes de notre temps» qu'il coproduit avec Janine Bazin et dont il réalisera lui-même plusieurs épisodes. Cette collection qui s'étend sur plus de cinquante ans se compose de portraits de 52 minutes de cinéastes réputés. Le premier épisode, diffusé sur l'ORTF en 1964, est réalisé par Robert Valley et est consacré à Luis Buñuel auquel André S. Labarthe est très attaché et qu'il a beaucoup contribué à faire reconnaître au sein de la critique.\n\nLa démarche documentaire de Labarthe est «antispectaculaire». Elle ne cherche pas le scoop, la réalisation est épurée et le commentaire succinct voire absent. En 1972, la collection s'interrompt. Elle reprendra sur La Sept-ARTE en 1988 sous le titre «Cinéma, de notre temps». Ce changement de titre est lié à la volonté de l'auteur de constater cette rupture dans la continuité de la collection et la naissance d'une nouvelle époque, plusieurs réalisateurs filmés, alors contemporains, étant décédés entre-temps.\n\nDurant cette pause dans la série, André S. Labarthe ne reste pas inactif. Il collabore aux émissions Cinéma, Cinémas et Égale cinéma, pour lesquelles il réalise différents sujets sur ses cinéastes favoris. Il réalise aussi plusieurs documentaires sur la danse, notamment sur le chorégraphe William Forsythe, William Forsythe au travail, ainsi que Carolyn Carlson, Patrick Dupond, Ushio Amagatsu, qui emploient les mêmes principes de réalisation que pour la série « Cinéastes de notre temps ».\n\nEn 2003, le festival international du film Entrevues à Belfort lui consacre une rétrospective.\n\nAndré S. Labarthe demeure avant tout un critique cinématographique. Qu'il s'emploie à exercer son métier dans ses articles ou derrière une caméra, c'est toujours dans un esprit d'analyse, de mise en perspective.\n\nSource: Article \"André S. Labarthe\" de Wikipédia en français, soumis à la licence CC-BY-SA 3.0.","1931-12-18","2018-03-05",2,null,18199,"nm0479351","Directing","André S. Labarthe","Oloron-Sainte-Marie, Pyrénées-Atlantiques, France",1.0625,"\u002FqSGjIBxHu6Kg0RU9Do11zdOVZo5.jpg",{"cast":20,"crew":350},[21,38,48,61,76,91,104,118,127,138,147,155,168,177,186,200,215,224,233,242,255,264,273,281,291,301,312,321,329,340],{"adult":4,"backdrop_path":22,"genre_ids":23,"id":25,"title":26,"original_language":27,"original_title":28,"overview":29,"popularity":30,"poster_path":31,"release_date":32,"softcore":4,"video":4,"vote_average":33,"vote_count":34,"character":35,"credit_id":36,"order":10,"media_type":37},"\u002F68NGFE8zD2gaQVH6MqJeKzojFJM.jpg",[24],18,1626,"Vivre sa vie","fr","Vivre sa vie: film en douze tableaux","L'histoire en 12 tableaux de Nana, jeune vendeuse désargentée qui rêve de devenir actrice et en vient, peu à peu, à se livrer à la prostitution.",5.111,"\u002Fu6mHCZ0Pm3aiN5m5qVaBTtw0zY5.jpg","1962-09-20",7.697,727,"Paul","52fe4306c3a36847f80349b1","movie",{"adult":4,"backdrop_path":11,"genre_ids":39,"id":40,"title":41,"original_language":27,"original_title":41,"overview":42,"popularity":43,"poster_path":11,"release_date":44,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"character":42,"credit_id":47,"order":10,"media_type":37},[],632072,"Alain Robbe-Grillet","",0.5124,"1969-09-29",10,1,"63d98a4522df2e008cca5145",{"adult":4,"backdrop_path":11,"genre_ids":49,"id":51,"title":52,"original_language":53,"original_title":52,"overview":42,"popularity":54,"poster_path":55,"release_date":56,"softcore":4,"video":4,"vote_average":57,"vote_count":10,"character":58,"credit_id":59,"order":60,"media_type":37},[24,50],878,1112090,"Il nuovo mondo","it",0.9114,"\u002FphyqipOPoA02E5VmfkoqAxY3Jpf.jpg","1963-02-19",6.5,"(uncredited)","643679f5945d3601258a8d94",4,{"adult":4,"backdrop_path":62,"genre_ids":63,"id":65,"title":66,"original_language":27,"original_title":66,"overview":67,"popularity":68,"poster_path":69,"release_date":70,"softcore":4,"video":4,"vote_average":71,"vote_count":72,"character":73,"credit_id":74,"order":75,"media_type":37},"\u002FeixKV60qwus2JD4wCHUQsw5O4LA.jpg",[64,24],35,41273,"Tournée","Producteur de télévision parisien à succès, Joachim avait tout plaqué - enfants, amis, ennemis, amours et remords - pour repartir à zéro en Amérique à l’aube de ses quarante ans. Il revient avec une tournée de strip-teaseuses «New Burlesque» à qui il a fait fantasmer la France… Paris !De port en port, l’humour des numéros et les rondeurs des filles enthousiasment les hommes comme les femmes. Et malgré les hôtels impersonnels, leurs musiques d’ascenseurs et le manque d’argent, les showgirls inventent un monde extravagant de fantaisie, de chaleur et de fêtes. Mais leur rêve d’achever la tournée en apothéose à Paris vole en éclats : la trahison d’un vieil «ami» fait perdre à Joachim la salle qui leur était promise. Un bref aller et retour dans la capitale s’impose, qui rouvre violemment les plaies du passé...",3.3406,"\u002FgHKhipw4s1tp3wENcTyT2UUacu8.jpg","2010-06-30",6.3,74,"Le patron du cabaret","64438054cee2f6044b368527",20,{"adult":4,"backdrop_path":77,"genre_ids":78,"id":79,"title":80,"original_language":27,"original_title":81,"overview":82,"popularity":83,"poster_path":84,"release_date":85,"softcore":4,"video":4,"vote_average":86,"vote_count":87,"character":88,"credit_id":89,"order":90,"media_type":37},"\u002FyXYUQfMPSNsvnqi7HU94GPdLfpE.jpg",[24],53016,"Allemagne 90 neuf zéro","Allemagne année 90 neuf zéro","Agent secret en Allemagne de l'Est depuis près d'un demi-siècle, Lemmy Caution, déjà peu utilisé par les services de renseignements, est devenu encore plus inutile après la chute du Mur de Berlin, qui sépare dorénavant l'Allemagne de l'Est de l'Allemagne de l'Ouest. Il décide alors de rentrer à l'Ouest et parcourt l'Allemagne de long en large, dans une solitude propice aux bons comme aux mauvais souvenirs et à la nostalgie. Il enquête sur ce mystérieux pays qu'est l'Allemagne, appelle à témoigner Novalis, Schiller ou encore le génial Fritz Lang et Fassbinder, rencontre bientôt Don Quichotte et l'inoubliable et charmante héroïne de « Werther ». Une question le taraude pourtant dans son périple : si l'Est n'existe plus, où est l'Ouest ?",2.5202,"\u002FyWiAhYpUjPwD7nY59k0SH4pt2pb.jpg","1993-01-15",6.7,30,"Narrator","52fe484ec3a36847f8160bd7",3,{"adult":4,"backdrop_path":11,"genre_ids":92,"id":94,"title":95,"original_language":27,"original_title":95,"overview":96,"popularity":97,"poster_path":98,"release_date":99,"softcore":4,"video":4,"vote_average":86,"vote_count":100,"character":101,"credit_id":102,"order":103,"media_type":37},[93],99,142696,"Sous le nom de Melville","Sous le nom de Melville retrace le parcours de Melville pendant la Seconde Guerre mondiale et l'impact que cette expérience personnelle de la guerre et de la Résistance a eu sur l'ensemble de son œuvre de cinéaste, ainsi que, indirectement, sur celle de ses héritiers. Le film comporte des éléments d'entretiens avec des cinéastes comme Johnnie To ou Masahiro Kobayashi qui viennent éclairer a posteriori l'œuvre de Melville.",1.2228,"\u002FQtx5XN3lLCLeN0T9OQs8HDfomp.jpg","2010-03-27",7,"Self","52fe4ae99251416c750f2347",6,{"adult":4,"backdrop_path":105,"genre_ids":106,"id":107,"title":108,"original_language":53,"original_title":109,"overview":110,"popularity":111,"poster_path":112,"release_date":56,"softcore":4,"video":4,"vote_average":113,"vote_count":114,"character":115,"credit_id":116,"order":117,"media_type":37},"\u002FolvFHqjMCCUVJ6NxxDxNJKPSl21.jpg",[64,24],59045,"RoGoPaG","Ro.Go.Pa.G.","Rogopag (également connu sous les graphies RoGoPaG, Ro.Go.Pa.G. ou Ro.Go.PaG) est un film à sketches franco-italien réalisé par Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini et Ugo Gregoretti et sorti en 1963.  Son titre est constitué des premières lettres de ses quatre réalisateurs.  Il est composé de :  La Virginité (Illibatezza) de Roberto Rossellini;  Le Nouveau Monde (Il mondo nuovo) de Jean-Luc Godard;  La Ricotta de Pier Paolo Pasolini;  Le Poulet de grain (Il pollo ruspante) de Ugo Gregoretti.  Le sketch de Pasolini provoqua la mise sous séquestre du film par la censure italienne pour « offense à la religion d'État ». Le film fut alors exploité en Italie sans le sketch de Pasolini, sous le titre : Laviamoci il cervello (« Lavons-nous le cerveau »). Il est resté inédit en France jusqu'en 1991.",2.2825,"\u002FlUIdW88hFIARvFQMLQSU1jo2W6o.jpg",7.2,133,"(segment \"Il nuovo mondo\") (voice) (uncredited)","6248c1f24bfa540095a71135",22,{"adult":4,"backdrop_path":11,"genre_ids":119,"id":120,"title":121,"original_language":27,"original_title":121,"overview":42,"popularity":122,"poster_path":123,"release_date":124,"softcore":4,"video":4,"vote_average":103,"vote_count":125,"character":42,"credit_id":126,"order":46,"media_type":37},[24],149037,"Noviciat",0.6872,"\u002FrX15Sp9SIJ0l37JAfkT6z03wL2j.jpg","1965-12-31",8,"52fe4bdc9251416c75110547",{"adult":4,"backdrop_path":11,"genre_ids":128,"id":129,"title":130,"original_language":27,"original_title":130,"overview":131,"popularity":132,"poster_path":133,"release_date":134,"softcore":4,"video":4,"vote_average":135,"vote_count":46,"character":136,"credit_id":137,"order":10,"media_type":37},[93],137865,"Jean Renoir, le patron, 3e partie: La règle et l'exception","Dans le troisième volet d'un triptyque des Cinéastes consacré à Jean Renoir, le réalisateur, assis seul dans une salle de cinéma, analyse des scènes de La Marseillaise et de La Règle du jeu, et discute de ses techniques de montage et de narration.",1.06,"\u002F1DdssI3T5zusuHkeMoPs5d6W3mV.jpg","1967-02-08",0,"Self - Interviewer","52fe4c3ac3a368484e1adca1",{"adult":4,"backdrop_path":11,"genre_ids":139,"id":140,"title":141,"original_language":27,"original_title":141,"overview":42,"popularity":142,"poster_path":143,"release_date":144,"softcore":4,"video":4,"vote_average":145,"vote_count":90,"character":42,"credit_id":146,"order":90,"media_type":37},[24],259252,"La Soirée",1.8501,"\u002Fq2MLQbe7jYpZOCNNU4uVvMfyrjQ.jpg","1961-01-01",4.3,"5323b6a19251411f7e0054db",{"adult":4,"backdrop_path":11,"genre_ids":148,"id":149,"title":150,"original_language":27,"original_title":150,"overview":42,"popularity":151,"poster_path":152,"release_date":153,"softcore":4,"video":4,"vote_average":100,"vote_count":90,"character":101,"credit_id":154,"order":45,"media_type":37},[93],262790,"Urgent ou à quoi bon exécuter des projets puisque le projet est en lui-même une jouissance suffisante",1.0696,"\u002FxtmODLQ7GdeZkM764T4UgaFlpRn.jpg","1977-08-01","533d3ad8c3a368791b002d8e",{"adult":4,"backdrop_path":156,"genre_ids":157,"id":158,"title":159,"original_language":27,"original_title":159,"overview":160,"popularity":161,"poster_path":162,"release_date":163,"softcore":4,"video":4,"vote_average":164,"vote_count":165,"character":166,"credit_id":167,"order":90,"media_type":37},"\u002F9sLZ7RbuNAByOaNu7YfU5ShtJNH.jpg",[24],104981,"Les enfants jouent à la Russie","Engagé par une major américaine pour un documentaire sur l'après-guerre froide en Russie, Godard réalisateur dans le rôle du prince Mychkine, l'idiot-cinéaste, s'entête à vouloir faire un film impossible.",1.4016,"\u002FepiL7sjvzf1bnK09EkgRzVeiYvv.jpg","1993-08-08",6.2,5,"Alcide Jolivet","62cafb6005f9cf004c8432fa",{"adult":4,"backdrop_path":11,"genre_ids":169,"id":170,"title":171,"original_language":27,"original_title":171,"overview":172,"popularity":173,"poster_path":174,"release_date":175,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"character":42,"credit_id":176,"order":46,"media_type":37},[24],274178,"Incident Urbain","Une rencontre fortuite, sur l'esplanade de la Bibliothèque François Mitterrand, Paris. Deux hommes portant des noms de code: Costello et le colonel, liés par un passé mystérieux, s'engagent dans une conversation intense aux nuances psycho-géographiques, ne se concluant que par un acte final illicite.",2.1297,"\u002FgyaobKUVWJR0QYKRlRv7XIOUSOL.jpg","2014-04-21","5390a93cc3a3680d75001b02",{"adult":4,"backdrop_path":11,"genre_ids":178,"id":179,"title":180,"original_language":181,"original_title":180,"overview":42,"popularity":182,"poster_path":183,"release_date":184,"softcore":4,"video":4,"vote_average":10,"vote_count":46,"character":42,"credit_id":185,"order":135,"media_type":37},[93],1013676,"Historia de invierno","es",1.5454,"\u002Fp65C1MIeSZ1ndTbwELYmIObnTmQ.jpg","2022-08-18","62fc65725f6c49007d22c2b1",{"adult":4,"backdrop_path":187,"genre_ids":188,"id":190,"title":191,"original_language":27,"original_title":191,"overview":192,"popularity":193,"poster_path":194,"release_date":195,"softcore":4,"video":4,"vote_average":196,"vote_count":197,"character":198,"credit_id":199,"order":100,"media_type":37},"\u002FnXTvtYJqqpOvAg3R1LbVKLmSPeC.jpg",[189,64],10749,289780,"Va voir maman, papa travaille","Mère de famille et épouse modèle, Agnès percute un véhicule alors qu'elle est en train de conduire dans Paris. Elle tombe immédiatement amoureuse du chauffeur de la voiture accidentée.",1.3695,"\u002FzMuxHSj8KUGKO9Kl2S0SAlPEN2C.jpg","1978-03-15",4.5,11,"Doctor","54034b340e0a2658db007cba",{"adult":4,"backdrop_path":201,"genre_ids":202,"id":204,"title":205,"original_language":27,"original_title":205,"overview":206,"popularity":207,"poster_path":208,"release_date":209,"softcore":4,"video":4,"vote_average":210,"vote_count":211,"character":212,"credit_id":213,"order":214,"media_type":37},"\u002F4WGuyWf1f94CsEeVIIqDKGw5rmO.jpg",[24,203,189],80,269,"À bout de souffle","À Marseille, Michel Poiccard, un jeune voyou, vole une voiture et tue le motard qui le poursuivait. À Paris, il retrouve, sur les Champs-Élysées, Patricia, une jeune américaine qui vend le « New York Herald Tribune ». Il propose à Patricia de le suivre en Italie…",11.2467,"\u002FiqnXXdyVKPuMngJDuHLYQGq60AN.jpg","1960-03-16",7.477,2111,"Journalist at Orly","560189c69251412285001baa",12,{"adult":4,"backdrop_path":11,"genre_ids":216,"id":217,"title":218,"original_language":27,"original_title":218,"overview":42,"popularity":219,"poster_path":220,"release_date":221,"softcore":4,"video":4,"vote_average":222,"vote_count":90,"character":136,"credit_id":223,"order":10,"media_type":37},[93],396434,"Jean Renoir, le patron, 1re partie: La recherche du relatif",1.1017,"\u002Fpi1CsghHpqciMjzzFxmWb12pnAK.jpg","1967-01-18",8.3,"663db5cd5ad4ec9cf930a320",{"adult":4,"backdrop_path":11,"genre_ids":225,"id":226,"title":227,"original_language":27,"original_title":227,"overview":228,"popularity":229,"poster_path":230,"release_date":231,"softcore":4,"video":4,"vote_average":125,"vote_count":60,"character":136,"credit_id":232,"order":90,"media_type":37},[93],396436,"Jean Renoir, le patron, 2e partie: La direction d'acteur","Deuxième volet de la trilogie documentaire du maître Jacques Rivette, présentant une conversation entre Jean Renoir et Michel Simon, qui célèbrent leurs retrouvailles en discutant, entre autres, de La Chienne (1931) et de Boudu sauvé de la noyade (1932).",1.2721,"\u002F9YXOmGa3XuiMNjyGAQoX1woz1wZ.jpg","1967-01-22","6641c0fac10d4be3e80c3f6b",{"adult":4,"backdrop_path":11,"genre_ids":234,"id":235,"title":236,"original_language":237,"original_title":236,"overview":42,"popularity":238,"poster_path":239,"release_date":240,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"character":42,"credit_id":241,"order":46,"media_type":37},[],387537,"Monsieur Morimoto","en",1.4068,"\u002Fj3tV5JJiQyDhRNTo6Q78wIBGAMQ.jpg","2008-03-13","56e609d9925141518e000f0c",{"adult":4,"backdrop_path":243,"genre_ids":244,"id":245,"title":246,"original_language":27,"original_title":246,"overview":247,"popularity":248,"poster_path":249,"release_date":250,"softcore":4,"video":4,"vote_average":251,"vote_count":252,"character":253,"credit_id":254,"order":60,"media_type":37},"\u002FaplcJYG3HnBoYIICl1wosfT3lYe.jpg",[189,24],63401,"L'Amour fou","Sébastien, metteur en scène de théâtre, vit avec Claire, comédienne. Il monte Andromaque de Racine, elle doit y jouer le rôle d'Hermione. Mais durant les répétitions, un conflit les oppose et Claire quitte soudainement le théâtre. Tandis que Sébastien décide de faire appel à Marta, son ancienne épouse, pour la remplacer, Claire sombre dans le désespoir.",1.9778,"\u002F7HzkSldZ1MWusqVTBzHuXEpFAII.jpg","1969-01-15",6.453,43,"Le réalisateur","57131fc792514141a5000a7d",{"adult":4,"backdrop_path":11,"genre_ids":256,"id":257,"title":258,"original_language":27,"original_title":258,"overview":42,"popularity":259,"poster_path":260,"release_date":261,"softcore":4,"video":4,"vote_average":165,"vote_count":46,"character":262,"credit_id":263,"order":135,"media_type":37},[93],1306617,"Postface : Le Dernier des hommes",1.4587,"\u002FlVPrMkSqNVJkFJiUNV7N47Zc7ID.jpg","1969-11-04","Himself","667300556283a6acca16a297",{"adult":4,"backdrop_path":265,"genre_ids":266,"id":267,"title":268,"original_language":237,"original_title":268,"overview":42,"popularity":269,"poster_path":270,"release_date":271,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"character":101,"credit_id":272,"order":10,"media_type":37},"\u002F8USJfqPTFFncf2Qgwz2PacjYJzj.jpg",[],632808,"Adolfo Arrietta, (cadré - décadré)",1.0048,"\u002FpzXgOvdkAoSN5hpnEVOxqyuk6LF.jpg","2015-01-01","6673dd189e155aea7825ca93",{"adult":4,"backdrop_path":11,"genre_ids":274,"id":275,"title":276,"original_language":27,"original_title":276,"overview":42,"popularity":277,"poster_path":278,"release_date":279,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"character":101,"credit_id":280,"order":46,"media_type":37},[93],447116,"Jean-Luc Godard, le désordre exposé",1.7886,"\u002F9kyQeWnX2aMAn3zeyu7i1Fz3akl.jpg","2012-08-20","58c9680792514110f800b348",{"adult":4,"backdrop_path":11,"genre_ids":282,"id":283,"title":284,"original_language":27,"original_title":284,"overview":285,"popularity":286,"poster_path":287,"release_date":288,"softcore":4,"video":4,"vote_average":289,"vote_count":103,"character":101,"credit_id":290,"order":165,"media_type":37},[93],441745,"Luis Buñuel : Un cinéaste de notre temps","Premier film de la série « Cinéastes de notre temps », un portrait de Luis Buñuel en deux parties : la première retrace la vie du cinéaste surréaliste, la seconde est un entretien.",0.957,"\u002FlZNz2VxowxJLgYbVQxwLjYYCqlg.jpg","1964-04-21",7.9,"59d1e4a7925141142f03b4c9",{"adult":4,"backdrop_path":11,"genre_ids":292,"id":294,"title":295,"original_language":27,"original_title":295,"overview":296,"popularity":297,"poster_path":298,"release_date":299,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"character":101,"credit_id":300,"order":10,"media_type":37},[93,293],10770,534218,"Amalric, l’art et la matière","André S. Labarthe et Quentin Mervel suivent Mathieu Amalric sur le tournage de \"Barbara\". Simple et précieuse, une parole à saisir comme dans une course-poursuite.",1.3544,"\u002FuUFRLl0X7zqTY4nIXkSKZACntoK.jpg","2018-07-12","5b4fb4970e0a264b84019d40",{"adult":4,"backdrop_path":302,"genre_ids":303,"id":304,"title":305,"original_language":27,"original_title":305,"overview":306,"popularity":307,"poster_path":308,"release_date":309,"softcore":4,"video":4,"vote_average":310,"vote_count":252,"character":58,"credit_id":311,"order":165,"media_type":37},"\u002F8fqKiVnv74TtWvDkjLpRDN45c0d.jpg",[93],104931,"JLG\u002FJLG, autoportrait de décembre","Le réalisateur s'interroge sur sa place dans l'histoire du cinéma, et sur l'interaction entre l'industrie du cinéma et l'art cinématographique.",1.9097,"\u002FsvvG0RLY1XcuriBw87BGmJjol9G.jpg","1995-01-20",6.4,"5c924c719251410b6f9e9306",{"adult":4,"backdrop_path":11,"genre_ids":313,"id":314,"title":315,"original_language":27,"original_title":315,"overview":316,"popularity":317,"poster_path":318,"release_date":319,"softcore":4,"video":4,"vote_average":103,"vote_count":46,"character":101,"credit_id":320,"order":135,"media_type":37},[],699238,"La photo","Cinq, voire six, variations sur un thème, commentaire et interprétation d'une même photographie. 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À travers un subtil montage d’images d’archives entrecoupées d’entretiens inédits, le cinéaste embrasse l’ensemble de la carrière du comédien pour mieux en analyser sa dimension mythique. L’acteur, qui se prête très rarement au jeu des interviews, apparaît ici en grande confiance, se dévoile librement et décrit son approche du métier.",1.2428,"\u002F5IgCUOYgNo7C4wJjgS94RvWcBIe.jpg","2001-10-25","Self - film critic, filmmaker","6a2172cd1a149cd8a0805315",[351,363,372,383,386,396,405,416,424,433,436,439,447,450,459,462,465,472,475,478,486,495,498,501,509,512,520,524,527,536,545,548,556,564,567,570,577,584,591,597,607,615,623,632,635,643,652,660,667,675,683,691,699,706,715,723,730,739,745,752,755,762,771,781,789,796,804,811,814,821,828,835,842,849,857,864,871,879,887,895,903,910,917,924,931,938,945,948,957,960,963,970,980,989,996,1002,1014,1025,1029,1039],{"adult":4,"backdrop_path":352,"genre_ids":353,"id":354,"title":355,"original_language":27,"original_title":355,"overview":42,"popularity":356,"poster_path":357,"release_date":358,"softcore":4,"video":4,"vote_average":359,"vote_count":165,"credit_id":360,"department":361,"job":362,"media_type":37},"\u002FbO7u7JpSz6LKG2yny9stEDfgRLe.jpg",[93],137864,"Jacques Rivette, le veilleur",1.498,"\u002FlOVSji5ykXUp9sG5h9EqPIoW9BA.jpg","1990-02-24",6.6,"608b841a43250f00776d1942","Production","Producer",{"adult":4,"backdrop_path":11,"genre_ids":364,"id":365,"title":366,"original_language":27,"original_title":366,"overview":367,"popularity":368,"poster_path":369,"release_date":42,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"credit_id":370,"department":14,"job":371,"media_type":37},[93],961310,"John Ford et Alfred Hitchcock le loup et l'agneau","Portrait de deux « monstres sacrés » de Hollywood, rencontrés en 1965. Labarthe réalise en 1966 un premier portrait de Ford, avant de réutiliser le matériel pour ce film. Les entretiens avec Hitchcock avaient été - en partie - utilisés en 1985 pour l'émission Cinéma Cinémas.",0.8272,"\u002FyzjFoaxIHYJKpWDKzyLu4eXJ7PL.jpg","62542ceb8e2e00143540510c","Director",{"adult":4,"backdrop_path":11,"genre_ids":373,"id":374,"title":375,"original_language":27,"original_title":375,"overview":376,"popularity":377,"poster_path":378,"release_date":379,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":380,"department":381,"job":382,"media_type":37},[93],267615,"Le Celluloïd et le Marbre","En 1965, dans une émission de télévision, Rohmer demande à des artistes contemporains de situer leur art par rapport à l' «art cinématographique» pour dresser un état des lieux polémique et désenchanté sur l'art du XXe siècle.",0.936,"\u002FmbQa7CqeW5oA7j7ebdgHFxeQKh8.jpg","2011-06-25","64d9910cf495ee02919ff195","Crew","Creator",{"adult":4,"backdrop_path":11,"genre_ids":384,"id":129,"title":130,"original_language":27,"original_title":130,"overview":131,"popularity":132,"poster_path":133,"release_date":134,"softcore":4,"video":4,"vote_average":135,"vote_count":46,"credit_id":385,"department":361,"job":362,"media_type":37},[93],"52fe4c3ac3a368484e1adc85",{"adult":4,"backdrop_path":387,"genre_ids":388,"id":389,"title":390,"original_language":27,"original_title":390,"overview":391,"popularity":392,"poster_path":393,"release_date":394,"softcore":4,"video":4,"vote_average":164,"vote_count":103,"credit_id":395,"department":14,"job":371,"media_type":37},"\u002FAkxpVlnQgD6GUaSRMowenQ0DynW.jpg",[93,293],255990,"Cinéastes de notre temps : Le Dinosaure et le Bébé, dialogue en huit parties entre Fritz Lang et Jean-Luc Godard","Sur des extraits du Mépris et de M le Maudit, Godard et Lang s'entretiennent sur le cinéma. Appelez-moi un \"dinosaure\", dit Fritz Lang. Dans Le Mépris, Lang, figure centrale du film, incarne justement un Dieu agonisant qui a fait son temps. Qu'est-ce qu'un metteur en scène? Qu'est-ce que la censure? Telles seront les questions tour à tour abordées avec Godard qui brise le cinéma, cet art de \"bébé\".",1.154,"\u002FrUKnG4Xp131jR5XdcOXpZ7znamO.jpg","1967-03-15","5301b04892514121a41f8181",{"adult":4,"backdrop_path":11,"genre_ids":397,"id":398,"title":399,"original_language":237,"original_title":399,"overview":400,"popularity":401,"poster_path":402,"release_date":403,"softcore":4,"video":4,"vote_average":100,"vote_count":46,"credit_id":404,"department":14,"job":371,"media_type":37},[93],261916,"Claude Chabrol, l'entomologiste","Réalisé pour la série \"Cinéma, de notre temps\". Dans une résidence paisible près de la Loire, Chabrol a élevé ses personnages favoris: les monstres. Dans ce documentaire, on le voit travailler activement à l'adaptation du roman de Simenon \"Betty\", et répondre aux questions posées par Jean Douchet. Des extraits du Boucher, Violette Nozière, Les Fantômes du chapelier et Masques rythmeront leur conversation pleine de sens et d'esprit.",1.2427,"\u002F3D2TeMY6O2mC0gYDIpMOAxs2wCh.jpg","1993-02-12","5336487ec3a3680e96000728",{"adult":4,"backdrop_path":406,"genre_ids":407,"id":408,"title":409,"original_language":237,"original_title":409,"overview":42,"popularity":410,"poster_path":411,"release_date":412,"softcore":4,"video":4,"vote_average":125,"vote_count":90,"credit_id":413,"department":414,"job":415,"media_type":37},"\u002FrqZPZIRdprffFOjA3iCmII3tBqK.jpg",[93],261918,"Georges Bataille - À perte de vue",0.9054,"\u002FclDTYGNgdcybFCBJi7yt4kFUZRQ.jpg","1997-04-30","53364a74c3a3680e7f000763","Writing","Writer",{"adult":4,"backdrop_path":11,"genre_ids":417,"id":418,"title":419,"original_language":27,"original_title":419,"overview":42,"popularity":420,"poster_path":11,"release_date":421,"softcore":4,"video":4,"vote_average":422,"vote_count":103,"credit_id":423,"department":14,"job":371,"media_type":37},[93],261913,"Jean-Pierre Melville: portrait en neuf poses",0.8928,"1971-07-16",7.7,"53364349c3a3680e9f000671",{"adult":4,"backdrop_path":11,"genre_ids":425,"id":426,"title":427,"original_language":237,"original_title":427,"overview":428,"popularity":429,"poster_path":430,"release_date":431,"softcore":4,"video":4,"vote_average":100,"vote_count":46,"credit_id":432,"department":14,"job":371,"media_type":37},[93],261920,"Georges Franju - Le visionnaire","En réunissant six entrevues accordées par Georges Franju (1912-1987) entre 1964 et 1987 – soit un laps de temps qui recouvre une partie importante de la carrière du cinéaste – André S. Labarthe fait part de la difficulté de composer un tel document pour approcher l'homme et sa filmographie. D'autant que le film mêle le cadre varié des différentes interviews et quelques extraits de films.",0.9697,"\u002FtfrGhK5azFucdaoogm4xUIC7UZd.jpg","1998-09-02","53364f4cc3a3680e96000783",{"adult":4,"backdrop_path":11,"genre_ids":434,"id":398,"title":399,"original_language":237,"original_title":399,"overview":400,"popularity":401,"poster_path":402,"release_date":403,"softcore":4,"video":4,"vote_average":100,"vote_count":46,"credit_id":435,"department":361,"job":362,"media_type":37},[93],"53364889c3a3680e7f000748",{"adult":4,"backdrop_path":11,"genre_ids":437,"id":426,"title":427,"original_language":237,"original_title":427,"overview":428,"popularity":429,"poster_path":430,"release_date":431,"softcore":4,"video":4,"vote_average":100,"vote_count":46,"credit_id":438,"department":361,"job":362,"media_type":37},[93],"53364f5bc3a3680e6900080f",{"adult":4,"backdrop_path":11,"genre_ids":440,"id":441,"title":442,"original_language":27,"original_title":442,"overview":42,"popularity":443,"poster_path":444,"release_date":445,"softcore":4,"video":4,"vote_average":125,"vote_count":10,"credit_id":446,"department":14,"job":371,"media_type":37},[93],261915,"La Nouvelle Vague par elle-même",1.3327,"\u002F3okFZRnN0IUD04SrwPw6QyOpL9w.jpg","1964-05-19","5336464dc3a3680e76000726",{"adult":4,"backdrop_path":11,"genre_ids":448,"id":418,"title":419,"original_language":27,"original_title":419,"overview":42,"popularity":420,"poster_path":11,"release_date":421,"softcore":4,"video":4,"vote_average":422,"vote_count":103,"credit_id":449,"department":361,"job":362,"media_type":37},[93],"533643b4c3a3680e9f00067a",{"adult":4,"backdrop_path":11,"genre_ids":451,"id":452,"title":453,"original_language":27,"original_title":453,"overview":454,"popularity":455,"poster_path":456,"release_date":457,"softcore":4,"video":4,"vote_average":125,"vote_count":46,"credit_id":458,"department":14,"job":371,"media_type":37},[93],261919,"Artaud cité, atrocité","«Je puis vraiment dire, moi, que je ne suis pas au monde et ce n’est pas une simple attitude d’esprit.»\r Cette affirmation d’Antonin Artaud fonde la problématique de cet essai d’André S. Labarthe : Antonin Artaud serait-il mort avant d’être né? C’est une hypothèse qui irrigue, en toute absence de preuves, le film.",1.1424,"\u002F7qfcVbWAHTg0oYxkZu4JB0XKhkW.jpg","2001-05-01","53364cb5c3a3680e7f00078f",{"adult":4,"backdrop_path":11,"genre_ids":460,"id":452,"title":453,"original_language":27,"original_title":453,"overview":454,"popularity":455,"poster_path":456,"release_date":457,"softcore":4,"video":4,"vote_average":125,"vote_count":46,"credit_id":461,"department":414,"job":415,"media_type":37},[93],"53364cc1c3a3680e87000766",{"adult":4,"backdrop_path":406,"genre_ids":463,"id":408,"title":409,"original_language":237,"original_title":409,"overview":42,"popularity":410,"poster_path":411,"release_date":412,"softcore":4,"video":4,"vote_average":125,"vote_count":90,"credit_id":464,"department":14,"job":371,"media_type":37},[93],"53364a6cc3a3680e76000779",{"adult":4,"backdrop_path":11,"genre_ids":466,"id":467,"title":468,"original_language":237,"original_title":468,"overview":42,"popularity":469,"poster_path":11,"release_date":470,"softcore":4,"video":4,"vote_average":165,"vote_count":90,"credit_id":471,"department":361,"job":362,"media_type":37},[93],266410,"D'un silence l'autre - Josef von Sternberg",0.944,"1967-12-09","5358fb960e0a26068400950c",{"adult":4,"backdrop_path":11,"genre_ids":473,"id":467,"title":468,"original_language":237,"original_title":468,"overview":42,"popularity":469,"poster_path":11,"release_date":470,"softcore":4,"video":4,"vote_average":165,"vote_count":90,"credit_id":474,"department":14,"job":371,"media_type":37},[93],"5358fb520e0a260688009494",{"adult":4,"backdrop_path":11,"genre_ids":476,"id":374,"title":375,"original_language":27,"original_title":375,"overview":376,"popularity":377,"poster_path":378,"release_date":379,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":477,"department":361,"job":362,"media_type":37},[93],"5361c0bb0e0a2649b1000bbf",{"adult":4,"backdrop_path":11,"genre_ids":479,"id":480,"title":481,"original_language":237,"original_title":481,"overview":42,"popularity":482,"poster_path":483,"release_date":484,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"credit_id":485,"department":14,"job":371,"media_type":37},[93],1199970,"Wassily Kandinksky",0.9206,"\u002FwQyhRPR8e3RbN9898HBCT0k99jx.jpg","1986-01-01","654428918c7b0f00c6f88bce",{"adult":4,"backdrop_path":11,"genre_ids":487,"id":488,"title":489,"original_language":27,"original_title":489,"overview":490,"popularity":491,"poster_path":11,"release_date":492,"softcore":4,"video":4,"vote_average":493,"vote_count":46,"credit_id":494,"department":14,"job":371,"media_type":37},[93],319978,"Éric Rohmer, preuves à l’appui","Recherchant dans de petits cahiers l'étincelle qui a donné vie à tel film, comparant les états d'un scénario, Rohmer se livre comme jamais.",1.453,"1994-01-01",9,"54bf0cde9251416eae007403",{"adult":4,"backdrop_path":11,"genre_ids":496,"id":226,"title":227,"original_language":27,"original_title":227,"overview":228,"popularity":229,"poster_path":230,"release_date":231,"softcore":4,"video":4,"vote_average":125,"vote_count":60,"credit_id":497,"department":361,"job":362,"media_type":37},[93],"6307fe9215794a007e3fde2c",{"adult":4,"backdrop_path":11,"genre_ids":499,"id":217,"title":218,"original_language":27,"original_title":218,"overview":42,"popularity":219,"poster_path":220,"release_date":221,"softcore":4,"video":4,"vote_average":222,"vote_count":90,"credit_id":500,"department":361,"job":362,"media_type":37},[93],"6307fdd1194186007b669c1c",{"adult":4,"backdrop_path":11,"genre_ids":502,"id":503,"title":504,"original_language":237,"original_title":504,"overview":42,"popularity":505,"poster_path":11,"release_date":506,"softcore":4,"video":4,"vote_average":507,"vote_count":165,"credit_id":508,"department":14,"job":371,"media_type":37},[93],373892,"David Cronenberg: I Have to Make the Word Be Flesh",1.0722,"1999-10-20",7.8,"567a8698c3a3685bbc002298",{"adult":4,"backdrop_path":387,"genre_ids":510,"id":389,"title":390,"original_language":27,"original_title":390,"overview":391,"popularity":392,"poster_path":393,"release_date":394,"softcore":4,"video":4,"vote_average":164,"vote_count":103,"credit_id":511,"department":361,"job":362,"media_type":37},[93,293],"56b8e4869251410554000929",{"adult":4,"backdrop_path":11,"genre_ids":513,"id":514,"title":515,"original_language":27,"original_title":515,"overview":516,"popularity":517,"poster_path":11,"release_date":518,"softcore":4,"video":4,"vote_average":135,"vote_count":135,"credit_id":519,"department":14,"job":371,"media_type":37},[93],1054460,"Van Gogh à Paris, repérages","« Qu’est-ce qu’un repérage ? C’est peut-être cela : traîner dans un bistrot..., laisser circuler ses pensées. » (André S. Labarthe) La caméra réinvestit les lieux qu’arpentait Van Gogh à Montmartre, mais entre aussi au musée Van Gogh à Amsterdam. Dans cet espace qui « ressemble à un aéroport », Labarthe imagine une incroyable rencontre : celle de Vincent Van Gogh et d'Antonin Artaud. 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