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Philippe Grandrieux (born in 1954) is a French film director and screenwriter. He studied film at the INSAS (Institut National Supérieur des Arts du Spectacle) in Belgium. [1] In 1976 he exhibited his first video work at Galerie Albert Baronian, Bruxelles.
Philippe Grandrieux est un cinéaste français né en 1954 à Saint-Étienne 1 . Biographie. Après des études de cinéma à l' INSAS (son mémoire de fin d'études est consacré aux rapports entre cinéma et peinture 2 ), Philippe Grandrieux présente sa première installation Via la vidéo à la galerie Albert Baronian (Bruxelles) en 1976.
Philippe Grandrieux is a French film director and screenwriter born in 1954. He is known for his experimental and provocative works such as Un lac, Sombre, and It May Be That Beauty Has Strengthened Our Resolve.
- January 1, 1
- Director, Writer, Cinematographer
- Saint-Étienne, Loire, Rhône-Alpes, France
- Philippe Grandrieux
Jun 27, 2018 · In Grandrieux’s films, bodies are the primary canvas for his cinematic experiments with colour, texture, lighting, framing and focus. Through his manipulation of physical form, subjectivity and identity unravel on screen, leaving not only the films’ characters, but also their viewers disoriented and destabilised.
Apr 4, 2016 · Maverick French director Philippe Grandrieux’s penchant for de-centered narratives and disturbing subject matter (i.e., prostitution and sexual violence) has polarized audiences around the world, but his painterly, formally innovative approach to image-making has also won him a legion of admirers among adventurous filmgoers as well as ...
Oct 10, 2015 · Grandrieux’s work, more than any being produced today, demands the rigor of the black box cinema experience, a cry out into the darkness that, sadly, may ultimately go unheard. This essay first appeared in a French translation in Hors Champ on October 9, 2012.
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Philippe Grandrieux is the director of numerous documentary-essays and two features, Sombre (1999) and La Vie nouvelle (2002). These features constitute the most advanced point of cinematic research, representing for today what the films of Jean Epstein were for the 1920s and ‘30s or Philippe Garrel’s were for the ‘70s and ‘80s.
