L'Errància de l'actor després d'Antoine Doinel: sobre una tendència melancòlica en el cinema francès contemporani

Abstract

The actors errancy after Antonie Doinel: on the melancholic tendency in contemporary French cinema. The current work and criticism on the state of French cinema refers to a melancholic projection towards the Nouvelle Vague era. The following article studies the notion of melancholy from the relationship that the filmmaker establishes with the actor, making the actor the object of his own desire so as to achieve an essentiality of the image that renews the preceding one. The paper intends to trace this progression beginning with François Truffauts last gesture with Jean-Pierre Léaud in Les 400 coups (1959), going on to the relationship that Jean Eustache, Léos Carax and Arnaud Desplechin established via a movement that unavoidably led to what Truffaut began.