Dimitry Haulet

Nelie escaped a miserable existence by becoming a frontline nurse in 1914. One day, she takes the identity of Rose, a young woman from a good family, who dies in front of her. She presents herself in her place at Madame de Lengwil's house, to become the reader of this wealthy woman.

A story about two struggling people who are trying to find their own place in the world. He is a small-time crook recently released from prison and she is a prostitute craving some love and affection. They find each other in an obscure part of Gent. Jean-Claude is responsible for their meeting ; he is also an ex-inmate who has just traded the low-life crime scene for life as a pimp. Will their love survive?

For Stella, it’s her final year. But she says she doesn’t care! That year, she discovers the famous Parisian club, the Bains Douches, 80’s and its crazy nights. Her friends are just studying, her father has left with another woman and her mother is depressed. And then there is André who dances like a God… That year will decide her whole life. She pretends not to think about it…

Juste wanders the streets of Paris looking for people only he can see. He collects their last memory before helping them into the afterlife. One day Agathe, a young woman, recognizes him. She belongs to his previous life. She is alive and he is a ghost. How will they manage to love each other and seize this second chance?

Paris, 1977. Eleven year old Stella knows poker better than grammar when she starts the year at a prestigious new school. There, she discovers the possibilities of a whole new world outside her parents' bar.

In high summer, Sasha suddenly dies. Her death brings two virtual strangers, her boyfriend Lawrence and sister Zoé, closer together, sharing their grief and the burden of their loss in Berlin, Paris and New York.

Mourning the death of his partner and collaborator Danièle Huillet, Straub finds tender mercy in music and nature. Out of the abyss, Kathleen Ferrier sings “The Farewell” from Gustav Mahler’s “The Song of the Earth”, (which the composer wrote in 1909 after the death of his daughter) and Heinrich Schütz’s Lament on the Death of His Wife. The landscape also provides solace: the mountain grove where Endymion pines for his beloved Artemis, “a wild thing, untouchable, mortal,” appears to embody the Japanese concept of ‘mono no aware’ — a wistful acceptance of the fleeting beauty of things.

A group of men and women have been brought together after World War II, when Italy regained its national and territorial unity. They make up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life, and look to protect themselves from violence, misery and fear. Amid the ruins of this post-war period, these men and women build a new rapport between themselves, between sexes, between generations, between social and geographical origins, between political camps.

Tracking missing socks in the European Union.

Jean-Marie Straub pushes this musicality of blocks to a paroxysmal extreme, mixing blocks of time (40 years separate the various extracts that are going to be used, and what is to be filmed), blocks of text (Malraux, Fortini, Vittorini, Hölderlin) and blocks of language (French, Italian, German), and from this ruckus emerges the history of the world, yes, History with a capital H, and from the same movement, the political hope of its being overtaken. So this is an adventure film, about the Human adventure, still one that is always, in the end, overtaken by Nature.

No description available.

"At the end of filming Umiliati, Straub and Huillet gave thanks to the cast and crew in a graceful way: by inviting Dolando Bernardini to sing several stanzas from Torquato Tasso’s 16th-century epic poem Jerusalem Delivered." - MoMA

Recently discovered and shown only twice before, Incantati is an alternate ending to Danièle Huillet and Jean-Marie Straub’s 2003 film Umiliati — fragment as mini-manifesto.

Excerpts from the novel Donna di Messina (1949 and 1964, 1967) by Elio Vittorini (1908-1966).

The story is simply set around a couple fighting at the breakfast table. All is well, nothing out of the ordinary. Steph announces to his life partner Flippy, the mascot bear for Flipp’s cereals, that he wishes to go to Japan to fulfill his childhood’s dream: study at a Ninja school.

A film in three parts: An aquarium, a man sitting at a table reading various text passages, and a sequence from Jean Renoir’s film LA MARSEILLAISE. This is all from a film by Jean-Marie Straub – about fate, the soul and the cosmos, about the evident nature in which man lives, just like in the aquarium surrounding him. And finally, there’s the nation as a symbol for the community of free people. A Straub film represents a gift that isn’t based on exchange, but rather the opposite of communication. And what could be more beautiful and liberating in life?

In a single static shot a man is threatened with death at another's gunpoint.

A visit to the Louvre in Paris commentated by an actor reading Cézanne.

In 1994, Jean-Marie Straub and Danièle Huillet adapted the novel Colette Baudoche – Story of a Young Girl of Metz by Maurice Barrès as a film they titled Lothringren!. In 2010, Jean-Marie Straub returned to the eastern provinces of France, this time to Alsace, to film the second half of a diptych based on Barrès’s work. The text is derived from In the Service of Germany, a book about the mountain of Saint-Odile, which Barrès wrote in 1903. With Joseph Rottner in the principal role, Straub traces the path of a young country doctor as he tours Mont Saint-Odile, following the routes that Barrès himself took to the chateau of Ratsamhausen and around the ruins of the ancient fortification known as the "Pagan Wall,” which are unique in the area. Straub, himself born in Metz, plays the role of a resident of Lorraine whom the young Alsatian engages in conversation.

Jean-Marie Straub’s new film closes the circle. The years 1954–2013 are displayed as representing a film produced in collaboration with Danièle Huillet. The two had met in Paris in 1954, around the year they came across the text by Georges Bernanos, to whom Straub has now dedicated a half-hour film. A man and a woman engaged in a dialogue, talking about their love, as if talking across an abyss. Then, in the last take, the two of them close together, motionless for a long time