[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1165739:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":6,"birthday":7,"deathday":8,"gender":9,"homepage":8,"id":10,"imdb_id":11,"known_for_department":12,"name":13,"place_of_birth":14,"popularity":15,"profile_path":16,"combined_credits":17,"images":699},false,[],"Jean-Claude Rousseau is one of the most unconventional lone fighters in French cinema. His predominantly short films deal with no less than cinema per se: space, time and movement. As abstract as each of these concepts might seem taken alone, Rousseau assigns their ultimate designation as an integral whole: A person (or no-one, for that matter) moves (or does not move) within a room (or looks into another room) for a certain amount of time.","1946-01-01",null,2,1165739,"nm0745948","Directing","Jean-Claude Rousseau","Paris",0.5343,"\u002FrA7KgE9IrUnUK7HFaoA9cKeg5Xn.jpg",{"cast":18,"crew":139},[19,36,47,57,68,80,89,100,109,119,130],{"adult":4,"backdrop_path":8,"genre_ids":20,"id":22,"title":23,"original_language":24,"original_title":25,"overview":26,"popularity":27,"poster_path":28,"release_date":29,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"character":32,"credit_id":33,"order":34,"media_type":35},[21],99,940531,"The Tomb of Kafka","fr","Le tombeau de Kafka","“You do not need to leave your room. Remain sitting at your table and listen. Do not even listen, simply wait. Do not even wait, be quiet still and solitary. The world will freely offer itself to you to be unmasked, it has no choice, it will roll in ecstasy at your feet” Franz Kafka",0.8368,"\u002F66N64JbfjvRZYgAUXJ3k3WXJhC9.jpg","2022-03-11",6,1,"Himself","62d42d7391745b00674311f0",0,"movie",{"adult":4,"backdrop_path":8,"genre_ids":37,"id":38,"title":39,"original_language":24,"original_title":40,"overview":41,"popularity":42,"poster_path":8,"release_date":43,"softcore":4,"video":4,"vote_average":44,"vote_count":45,"character":32,"credit_id":46,"order":34,"media_type":35},[],315716,"Twice Around the World","Deux fois le tour du monde","",0.6839,"2007-10-19",5,4,"54aa36a2c3a3680c300067f1",{"adult":4,"backdrop_path":8,"genre_ids":48,"id":49,"title":50,"original_language":24,"original_title":50,"overview":51,"popularity":52,"poster_path":53,"release_date":54,"softcore":4,"video":4,"vote_average":55,"vote_count":31,"character":41,"credit_id":56,"order":34,"media_type":35},[],546502,"Chansons d'amour","A man spends his time sitting by a window that overlooks a pool.",0.7091,"\u002Fsn6BKv3yTXjWdGA7vbUBdbk5KA5.jpg","2016-06-07",3,"63718b60813831008085b396",{"adult":4,"backdrop_path":58,"genre_ids":59,"id":60,"title":61,"original_language":24,"original_title":61,"overview":62,"popularity":63,"poster_path":64,"release_date":65,"softcore":4,"video":4,"vote_average":66,"vote_count":31,"character":32,"credit_id":67,"order":34,"media_type":35},"\u002F5ycp0XFEBf6uhsIeISKVMsNcdNF.jpg",[21],499009,"Lettre à Roberto","Rooms must be vacated before noon on the day of departure. An extra night will be charged for all late departures.\" Jean-Claude Rousseau has used this banal, well-known notice as a synopsis for his film. Taken out of context, thereby rendering it mysterious, it is an ideal introduction to this letter, which consists of two shots – the front and behind of a window in a hotel in Turin – and an insert. Here, Rousseau continues to explore \"basic film techniques\" but in this case, he abandons super eight to film in DV, a new technique and a new quest for harmony between visuals and sounds. Jean-Pierre Rehm.",0.6443,"\u002F6jhiTWb4NDSBeaVuHSX0JRc9U7v.jpg","2002-07-02",10,"5a5dffec92514119db00a9d1",{"adult":4,"backdrop_path":69,"genre_ids":70,"id":71,"title":72,"original_language":24,"original_title":73,"overview":74,"popularity":75,"poster_path":76,"release_date":77,"softcore":4,"video":4,"vote_average":78,"vote_count":9,"character":32,"credit_id":79,"order":34,"media_type":35},"\u002FweosAtrLFFvCGA48aFW8xVEPh2B.jpg",[21],262479,"Girl Reading a Letter by an Open Window","Jeune femme à sa fenêtre lisant une lettre","Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»",1.0348,"\u002FinDO19H3xXBvdUurUvPWGnE5a6E.jpg","1983-01-01",5.5,"5a5e0645c3a3686a6400a5e0",{"adult":4,"backdrop_path":8,"genre_ids":81,"id":82,"title":83,"original_language":24,"original_title":83,"overview":84,"popularity":85,"poster_path":86,"release_date":87,"softcore":4,"video":4,"vote_average":34,"vote_count":34,"character":32,"credit_id":88,"order":9,"media_type":35},[21],513221,"Une Vie Risquée","Short film commissioned by the Cinemathèque Suisse to celebrate Jean-Marie Straub’s 85th birthday.",0.8488,"\u002FyDFojmMRXEVK5RGtYx5RiFj6My5.jpg","2018-01-08","5ab27a45925141164800ac40",{"adult":4,"backdrop_path":8,"genre_ids":90,"id":91,"title":92,"original_language":93,"original_title":92,"overview":94,"popularity":95,"poster_path":96,"release_date":97,"softcore":4,"video":4,"vote_average":98,"vote_count":31,"character":41,"credit_id":99,"order":34,"media_type":35},[],525674,"Remembering Wavelengths","en","Jean-Claude Rousseau homage to Michael Snow’s film Wavelength.",1.1524,"\u002F7FLTIOvDscmZEYjNtSqBwRlROuC.jpg","2014-01-01",7,"5b039b2d9251410993025381",{"adult":4,"backdrop_path":8,"genre_ids":101,"id":102,"title":103,"original_language":24,"original_title":103,"overview":104,"popularity":105,"poster_path":106,"release_date":107,"softcore":4,"video":4,"vote_average":34,"vote_count":34,"character":41,"credit_id":108,"order":34,"media_type":35},[],503553,"L'Appel de la forêt","L'Appel de la forêt follows the call of nature, but, as it is always the case with Jean-Claude Rousseau, in the form of an image. At first glance we see a green wall and a door-frame next to it. After a second glance the disturbing aspect of the scene crystallizes: A small, differently colored rectangle draws attention to the fact that a picture has been removed from the left-hand side of the wall, while such a picture can still be seen at the right-hand side of the wall. Then a man (Rousseau himself) enters the scene and puts the painting back into its original spot: It shows a roebuck. What follows is a carousel ride of unusual and amusing images.",0.7474,"\u002Fxs8I0kaNbP1QyHTLCW6mGBOLmJu.jpg","2008-02-06","5ece786de4b576001f2b0905",{"adult":4,"backdrop_path":110,"genre_ids":111,"id":112,"title":113,"original_language":24,"original_title":113,"overview":114,"popularity":115,"poster_path":116,"release_date":117,"softcore":4,"video":4,"vote_average":78,"vote_count":45,"character":32,"credit_id":118,"order":34,"media_type":35},"\u002FyHafWbPZuqqeaiedgbi2pRY3sZe.jpg",[21],262130,"De son Appartement","The continuing demand for high standards is what sets Rousseau's work apart. What makes this film distinctive is the way Rousseau explicitly returns to the source of his creative inspiration. So here he is at home reciting «Bérénice» to himself, whilst going about his household chores. It verges on the comical: There are repeated shots of him obstinately trying to turn off a dripping tap, or the jubilant close up of bare feet carried away in performing a dance step or two. Combining art with life in such a way, that nothing is compartmentalised, nothing lost - that is the goal.",0.9666,"\u002Fwk0kgB87GwxHVpjjvVl7JEnYecL.jpg","2007-07-04","68827468730ab572b68a5ea5",{"adult":4,"backdrop_path":8,"genre_ids":120,"id":121,"title":122,"original_language":24,"original_title":123,"overview":124,"popularity":125,"poster_path":126,"release_date":127,"softcore":4,"video":4,"vote_average":34,"vote_count":34,"character":128,"credit_id":129,"order":31,"media_type":35},[],369392,"Three Times Nothing","Trois fois rien","A triptych formed by FAIT LES AMUSEMENTS, CONTRETEMPS, and COMME UNE OMBRE LEGERE. The viewer is challenged to find and occupy his own position, to find his perspective in a similar way the filmmaker has found it on a look-out-point in the mountains.",0.6141,"\u002F6FygU8qgg5nBChj5bCbaP7zFkCR.jpg","2006-01-27","Self","6a659d446e9e1d2a30df7790",{"adult":4,"backdrop_path":8,"genre_ids":131,"id":132,"title":133,"original_language":24,"original_title":133,"overview":134,"popularity":135,"poster_path":136,"release_date":137,"softcore":4,"video":4,"vote_average":55,"vote_count":31,"character":128,"credit_id":138,"order":34,"media_type":35},[],262132,"Festival","Jean-Claude Rousseau is a filmmaker who believes in the natural power of images. The rigid compositions create something like a pure state, which constantly changes during the period of its viewing – like an empty and simultaneously detail-packed field. During this period the viewer is challenged to find and occupy his own position, to find his perspective in a similar way the filmmaker has found his in several places. Festival combines places the artist has visited during the last few years. Jean-Claude Rousseau’s films not only make beautiful discoveries, they are beautiful discoveries.",1.3134,"\u002FjhGuWZ7feDYycYZbFfoT6Mp6AsX.jpg","2010-10-21","6a9b9ad0de70f97ccd221d95",[140,144,156,167,175,185,188,191,203,214,226,229,238,243,251,260,265,277,280,288,291,301,311,320,329,337,346,356,366,376,385,388,391,394,398,401,404,407,410,413,418,421,424,427,430,438,441,450,459,466,474,482,490,499,508,511,520,528,531,534,542,550,553,558,561,564,568,571,581,584,587,590,593,600,610,613,623,626,629,632,636,645,654,663,673,676,679,682,690],{"adult":4,"backdrop_path":8,"genre_ids":141,"id":22,"title":23,"original_language":24,"original_title":25,"overview":26,"popularity":27,"poster_path":28,"release_date":29,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"credit_id":142,"department":12,"job":143,"media_type":35},[21],"620ff93ea84ff7006d1f4c35","Director",{"adult":4,"backdrop_path":145,"genre_ids":146,"id":147,"title":148,"original_language":24,"original_title":149,"overview":150,"popularity":151,"poster_path":152,"release_date":153,"softcore":4,"video":4,"vote_average":154,"vote_count":66,"credit_id":155,"department":12,"job":143,"media_type":35},"\u002F4rDHelaBqXiJgv7zSx2PeUDrMyh.jpg",[21],182641,"The Enclosed Valley","La Vallée close","My films are like that: in a room, but looking out onto an open sky. [...] I can’t really say it except to repeat that Bresson note, ‘that without a thing changing, everything is different.’ The film exists. The fiction is set up, and we believe in it. The justness of the agreement leads us to believe it, because everything plays equally at being a sign. That’s the arrangement of the elements. It’s an act of faith. La vallée close is just this: elements treated above all as if in a documentary that, without being changed, portray the story and reveal between them the elements of fiction. But above all seen as they are, insignificant. And then in the relations they set up, they can satisfy our desire for a story. -- Rousseau",1.2757,"\u002Fpuik6pmIAXQC07CeyMTWDYLGY2H.jpg","1995-01-01",7.5,"52fe4c899251416c7511d8dd",{"adult":4,"backdrop_path":8,"genre_ids":157,"id":158,"title":159,"original_language":24,"original_title":159,"overview":160,"popularity":161,"poster_path":162,"release_date":163,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"credit_id":164,"department":165,"job":166,"media_type":35},[21],129364,"Europa 2005 – 27 octobre","Inspired by Rossellini's Europa '51 Straub-Huillet made a film consisting of two pans of a street corner in Paris.",1.0187,"\u002FmjjoynfOxMTbvjLbhsvwFmIpWDO.jpg","2006-10-13","64ecfa9045819900c6f99c24","Editing","Editor",{"adult":4,"backdrop_path":8,"genre_ids":168,"id":169,"title":170,"original_language":24,"original_title":171,"overview":41,"popularity":172,"poster_path":8,"release_date":173,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"credit_id":174,"department":12,"job":143,"media_type":35},[],238297,"White Night","Nuit blanche",1.1251,"2011-07-09","52fe4e79c3a36847f82926bd",{"adult":4,"backdrop_path":8,"genre_ids":176,"id":177,"title":178,"original_language":24,"original_title":179,"overview":180,"popularity":181,"poster_path":182,"release_date":183,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"credit_id":184,"department":12,"job":143,"media_type":35},[],262128,"Starless Night","La nuit sans étoiles","Can you tell if yours is a colour or black and white dream ?  If yours is a silent or sound dream ?  If ther’s a voice off or actual sound ?",1.0045,"\u002F1h2V6QhfwowbL6yGQHcN1x1uI1U.jpg","2006-01-01","53382cc49251417da7002b56",{"adult":4,"backdrop_path":110,"genre_ids":186,"id":112,"title":113,"original_language":24,"original_title":113,"overview":114,"popularity":115,"poster_path":116,"release_date":117,"softcore":4,"video":4,"vote_average":78,"vote_count":45,"credit_id":187,"department":12,"job":143,"media_type":35},[21],"53382e1b9251411302001b15",{"adult":4,"backdrop_path":8,"genre_ids":189,"id":132,"title":133,"original_language":24,"original_title":133,"overview":134,"popularity":135,"poster_path":136,"release_date":137,"softcore":4,"video":4,"vote_average":55,"vote_count":31,"credit_id":190,"department":12,"job":143,"media_type":35},[],"533830729251417daa002be8",{"adult":4,"backdrop_path":192,"genre_ids":193,"id":194,"title":195,"original_language":24,"original_title":195,"overview":196,"popularity":197,"poster_path":198,"release_date":199,"softcore":4,"video":4,"vote_average":200,"vote_count":201,"credit_id":202,"department":12,"job":143,"media_type":35},"\u002Fxjc3edlz53lEfK9liRAzXgTfNnw.jpg",[],262183,"Saudade","“My eyes are imprisoned\u002F Weeping with great longing”. Soèdade (saudade) — “longing” or “yearning” — is a Portuguese word that does not have a precise translation in English.  It has been described as a “…vague and constant desire for something that does not and probably cannot exist…”",1.1867,"\u002F7z5Zgk5g9IgaPbzGdDRYzHSgIVs.jpg","2012-10-25",7.2,8,"5338894c9251417da700320e",{"adult":4,"backdrop_path":8,"genre_ids":204,"id":205,"title":206,"original_language":207,"original_title":206,"overview":208,"popularity":209,"poster_path":210,"release_date":211,"softcore":4,"video":4,"vote_average":212,"vote_count":44,"credit_id":213,"department":12,"job":143,"media_type":35},[21],262184,"Senza mostra","it","Where may the reds and goldens be? Where may the so promised city be? The lover beholds his fate in a faded Venice.",1.0575,"\u002FbaKbyhFACLLNd35Fksz2FilwJG0.jpg","2011-09-16",5.8,"53388b809251417d9b00335c",{"adult":4,"backdrop_path":215,"genre_ids":216,"id":217,"title":218,"original_language":24,"original_title":219,"overview":220,"popularity":221,"poster_path":222,"release_date":223,"softcore":4,"video":4,"vote_average":224,"vote_count":44,"credit_id":225,"department":12,"job":143,"media_type":35},"\u002FhC30jloeCNmpiZNQ9AoLT47dJ0S.jpg",[21],262478,"The Antiquities of Rome","Les antiquités de Rome","A structuralist work composed of static, long-duration shots of Roman ruins and architectural details, all filmed on Super 8. The film operates without a traditional narrative or dialogue, relying on fixed compositions to document the interplay of light and shadow across ancient stone. By framing monuments through windows and doorways, Jean-Claude Rousseau explores the relationship between historical space and the act of observation.",0.8976,"\u002Fgo0KBp3XGcwLwC1HL7PozTKNNYZ.jpg","1989-11-21",7.6,"533a2d5fc3a3680e6900720a",{"adult":4,"backdrop_path":69,"genre_ids":227,"id":71,"title":72,"original_language":24,"original_title":73,"overview":74,"popularity":75,"poster_path":76,"release_date":77,"softcore":4,"video":4,"vote_average":78,"vote_count":9,"credit_id":228,"department":12,"job":143,"media_type":35},[21],"533a300ac3a3680e7f007035",{"adult":4,"backdrop_path":8,"genre_ids":230,"id":231,"title":232,"original_language":24,"original_title":232,"overview":233,"popularity":234,"poster_path":8,"release_date":235,"softcore":4,"video":4,"vote_average":236,"vote_count":55,"credit_id":237,"department":12,"job":143,"media_type":35},[21],993992,"Welcome","Thirty-five years after \"Keep in Touch\", Jean-Claude Rousseau’s filmmaking returns to the city of Carl Andre and Hollis Frampton. It’s like a miniature remake of \"Rear Window\", but a New York version – Rear Window as seen by a minimalist artist from New York. The window takes up almost the entire frame, the photographer is nowhere to be seen and the gaze, no longer voyeuristic, flutters over the surface of a red brick façade on the other side, studded by myriad identical windows. On the surface of the windows or in the depths of the bedrooms, life passes by, takes its leave and returns, always inaccessible.",0.8331,"2022-07-07",9.2,"62bd9db07304b523860484a9",{"adult":4,"backdrop_path":8,"genre_ids":239,"id":22,"title":23,"original_language":24,"original_title":25,"overview":26,"popularity":27,"poster_path":28,"release_date":29,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"credit_id":240,"department":241,"job":242,"media_type":35},[21],"62d42d6a91745b00674311ec","Writing","Writer",{"adult":4,"backdrop_path":8,"genre_ids":244,"id":245,"title":246,"original_language":93,"original_title":246,"overview":247,"popularity":248,"poster_path":8,"release_date":249,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"credit_id":250,"department":12,"job":143,"media_type":35},[],293015,"Under a Changing Sky","Sous un ciel changeant. Jean-Claude Rousseau uses his signature black frames to create Durasian elisions between painterly, Corot-conjuring tableaux.",0.7286,"2014-09-05","541781c40e0a26380b0004f6",{"adult":4,"backdrop_path":8,"genre_ids":252,"id":253,"title":254,"original_language":93,"original_title":254,"overview":255,"popularity":256,"poster_path":257,"release_date":258,"softcore":4,"video":4,"vote_average":30,"vote_count":31,"credit_id":259,"department":12,"job":143,"media_type":35},[],298656,"Pas cette nuit","In a darkened room a dark figure holding numerous flickering candles walks towards the camera. The single frame, however, keeps the secret of the scene to itself.",0.6565,"\u002F1DmYHY4PWy7jetSeWEg5B9lo5x3.jpg","2007-01-01","5448075cc3a36817e400273f",{"adult":4,"backdrop_path":8,"genre_ids":261,"id":158,"title":159,"original_language":24,"original_title":159,"overview":160,"popularity":161,"poster_path":162,"release_date":163,"softcore":4,"video":4,"vote_average":45,"vote_count":45,"credit_id":262,"department":263,"job":264,"media_type":35},[21],"616752b8be7f35006ac62522","Crew","Cinematography",{"adult":4,"backdrop_path":8,"genre_ids":266,"id":267,"title":268,"original_language":269,"original_title":270,"overview":271,"popularity":272,"poster_path":273,"release_date":274,"softcore":4,"video":4,"vote_average":275,"vote_count":44,"credit_id":276,"department":12,"job":143,"media_type":35},[],315715,"Just Before the Storm","ko","Juste avant l'orage","Three friends lounge around on pillows after having lunched on the terrace.  One of them leaves staggering.  It is a matter of expectation and temporal perception.",0.6771,"\u002Fu6afgN7DNlIbtgqnxVL7kKtwK7D.jpg","2004-06-12",6.8,"54aa3531c3a36824c2000dd3",{"adult":4,"backdrop_path":8,"genre_ids":278,"id":38,"title":39,"original_language":24,"original_title":40,"overview":41,"popularity":42,"poster_path":8,"release_date":43,"softcore":4,"video":4,"vote_average":44,"vote_count":45,"credit_id":279,"department":12,"job":143,"media_type":35},[],"54aa3681c3a36824c2000df7",{"adult":4,"backdrop_path":8,"genre_ids":281,"id":282,"title":283,"original_language":24,"original_title":284,"overview":285,"popularity":286,"poster_path":8,"release_date":43,"softcore":4,"video":4,"vote_average":212,"vote_count":45,"credit_id":287,"department":12,"job":143,"media_type":35},[],309849,"False Start","Faux départ","A man is waiting in a hotel.",1.087,"54aa378b9251414d67006093",{"adult":4,"backdrop_path":8,"genre_ids":289,"id":121,"title":122,"original_language":24,"original_title":123,"overview":124,"popularity":125,"poster_path":126,"release_date":127,"softcore":4,"video":4,"vote_average":34,"vote_count":34,"credit_id":290,"department":12,"job":143,"media_type":35},[],"564f7f4cc3a368070a004946",{"adult":4,"backdrop_path":292,"genre_ids":293,"id":294,"title":295,"original_language":93,"original_title":295,"overview":296,"popularity":297,"poster_path":298,"release_date":299,"softcore":4,"video":4,"vote_average":98,"vote_count":31,"credit_id":300,"department":12,"job":143,"media_type":35},"\u002F8aGuKhOF0GwCRR6rzkjhROXUlvC.jpg",[],369951,"Venise n'existe pas","\"if he leaned out the window, if he did that movement, if he risked to fall or to drop the camera, if he leaned to fall, then he would see and it would be seen, through the doorway, inhabited islands, churches and palaces where the boats dock. \"",0.83,"\u002FgzT1fiIcCPBFaE9ZurPIrYbSLIv.jpg","1984-03-08","5655b5f4925141019b0038e4",{"adult":4,"backdrop_path":8,"genre_ids":302,"id":303,"title":304,"original_language":93,"original_title":304,"overview":305,"popularity":306,"poster_path":307,"release_date":308,"softcore":4,"video":4,"vote_average":309,"vote_count":9,"credit_id":310,"department":12,"job":143,"media_type":35},[],369960,"Keep in Touch","Rousseau is shown sitting in a room, waiting. 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