From Cinema Scope No. 45, Winter 2011. -– J.R.
As a postscript to and short commentary on the closing section of Ted Fendt’s interview with Luc Moullet in the previous issue of Cinema Scope, l’d like to propose that (a) Moullet’s two most recent shorts, Toujours moins and Chef-d’oeuvre?, provide a kind of summary of Moullet’s work as a whole, by focusing respectively on economy and art, and (b) the second of these actually fuses these two concerns, offering not only a digest of his oeuvre as both a filmmaker and a critic, but also a short manifesto that exalts the importance of shortness itself in relation to his particular talents.
Moullet’s best work as a filmmaker can generally be found in his shorts — which makes it all the more regrettable that the Moullet box set with English subtitles includes only his features, and the sole collection of his shorts on DVD (Luc Moullet en shorts, 2009) is untranslated. The most important exceptions to this rule are Genèse d’un repas (1978), arguably his most profound statement about economy, and Anatomie d’un rapport (1976), but it might be added that many of his other best features, such as Les contrabandières (1968), La comédie du travail (1987), and Parpaillon (1993), are effectively collections of thematically related shorts, while some of his thinnest – – e.g., Le prestige de la mort (2006) — seem to qualify as padded shorts.… Read more »