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Straub–Huillet

January 04, 2023

Jean-Marie Straub (French: [stʁob]; 8 January 1933 — 20 November 2022) and Danièle Huillet (pronounced [ɥijɛ]; 1 May 1936 – 9 October 2006) were a duo of French filmmakers who made two dozen films between 1963 and 2006. Their films are noted for their rigorous, intellectually stimulating style and radical, communist politics. While both were French, they worked mostly in Germany and Italy. From the Clouds to the Resistance (1979)[1] and Sicilia! (1999)[1] are among the duo's best regarded works.

Biography

Straub, who was born in Metz, met Paris-born Huillet as a student in 1954. Straub was involved in the Parisian cinephile community at the time. He was friends with Francois Truffaut and contributed to his publication Cahiers du Cinéma, although Truffaut refused to publish Straub's more inflammatory writings.[2] He worked as an assistant to the film director Jacques Rivette on the 1956 film A Fool's Mate.[3] He also worked in Paris as an assistant to Abel Gance, Jean Renoir, Robert Bresson and Alexandre Astruc. The pair later emigrated to Germany so that Straub could avoid military service in Algeria. Straub spent his first few years researching Bach. Huillet had initially planned to make ethnographic films but eventually assisted Straub on his projects. In 1963, they made Machorka-Muff, an 18-minute short based on a Heinrich Böll story and their first collaboration.[4] Their next film, the 55-minute Not Reconciled, was also a Böll adaptation.

They did not make a full-length feature until 1968's Chronicle of Anna Magdalena Bach, after which they made films at a fairly even rate, completing a feature every 2–3 years. The production of the Chronicle of Anna Magdalena Bach was very tedious. The struggle for funding lasted for ten years, until 1967. In 1968, they also made a short film starring Rainer Werner Fassbinder and his theatre troupe called The Bridegroom, the Actress and the Pimp.[citation needed] In the mid 1970s, they began producing films in Italy. Increasingly, they began splitting their time between Germany and Italy, as well as frequently collaborating with French and British producers.[citation needed]

Straub and Huillet lived together for most of their lives. They had no children. Huillet died of cancer in Cholet on 9 October 2006, aged 70.[4] Straub died on 20 November 2022, at the age of 89.[5]

Style and content

All of the films of Straub and Huillet are based on other works: novels, operas, plays, and less conventional source materials, such as political writings. Their sources include writings by Marguerite Duras, Franz Kafka, Elio Vittorini and Bertolt Brecht; two operas by Arnold Schoenberg; letters written by Friedrich Engels, Wassily Kandinsky, and J.S. Bach; and other films, including Rossellini's Europa '51.[6] Many of their films, such as Klassenverhältnisse, stress the relationship between the original text and the film.

Since their first films Machorka-Muff (1962) and Not reconciled (1964) were made in Germany, Huillet and Straub were at the time included in the New German Film, which was loudly announced in the 1962 Oberhausen Manifesto. Frieda Grafe and Enno Patalas wrote about Machorka-Muff: “One should read Böll's book because it has changed through Straub's film. It seems more naked and more serious because now with the last camera movement of the film it always points away from itself to Germany." If the choice of subjects - German post-war themes such as the continuity of fascist-nationalist thought patterns, broken biographies, rearmament - and a certain brittleness in the acting made the first two films typical productions of the time at first glance, the alienating, low-modulation language of the actors, alongside the non-chronological editing technique in Not Reconciled and the unconventional handling of the literary templates by Heinrich Böll, also instilled among colleagues an incomprehension and rejection. At the Oberhausen Short Film Festival in 1963 and the Berlin International Film Festival in 1965, the first two films were rejected by the selection juries and only shown in special events. The third film, Chronik der Anna Magdalena Bach (1967), was made possible by an unprecedented "crowd funding", which was supported by Alexander Kluge, Heinrich Böll, Enno Patalas and the influential magazine Filmkritik. With this film, which had little in common with other German films of its time, Huillet and Straub entered new stylistic and dramaturgical territory. The sensual center of the film, lacking in conventional film plot, is the music of Johann Sebastian Bach, which is presented here live in front of the camera and partly in original locations - an uncompromising and elaborate appreciation of music in films that Huillet and Straub in the later films Moses and Aron (1974) and From Today to Tomorrow (1996), both based on operas by Arnold Schoenberg.

The style of all Straub and Huillet's films is that they always play with political commitment in different ways ("toute révolution est un coup de dés" - based on Mallarmé's poem about the nature of chance), even in an opera film based on biblical motifs, such as Moses and Aron, whom they dedicated to Holger Meins.

Aesthetically, they were particularly oriented towards the dramaturgical ideas of Bertolt Brecht, for example by saying that the actor should not play his role in an illusionistic way, but that he should identify his activity as what it is: quoting. You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues. Nevertheless, their films are characterized by an unbelievable aesthetic rigor and formal rigor: every shot is precisely constructed, no cut is a concession to conventions. But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as Kenji Mizoguchi and John Ford.

Collaboration

Due to his more extroverted nature, Jean-Marie Straub served as the public face of the couple: this has contributed to the widespread assumption that Huillet's role in their filmmaking process was secondary.[citation needed] In reality, the two split their work equally, with Straub responsible for mise en scène, Huillet controlling much of the production design and editing process, and the two being equally responsible for the pre-production, texts and rehearsals. This method can be seen in Pedro Costa's documentary Where Does Your Hidden Smile Lie?, filmed during the editing of Sicilia!.[6]

What is special about the work of Huillet and Straub is the often decades-long continuity that they have with many of their employees. They realized most of their work with two cameramen: William Lubtchansky (9 films) and Renato Berta (20 films to date), with whom Jean-Marie Straub still worked. The sound engineer Louis Hochet was responsible for the sound recordings for 15 of her films between 1967 and 1998, including the films Chronik der Anna Magdalena Bach (1967), [4] Moses and Aron (1974) and Von heute, which are determined by live recorded music auf Morgen (1996), each of which broke new ground in integrating music into a film. An equally formative connection existed with the Tuscan town of Buti, which was used primarily as a location for the films based on Cesare Pavese's dialogues with Leuko, as well as with the Teatro Francesco di Bartolo located there, whose ensemble has participated in a total of ten films.

Huillet and Straub often paid tribute to friends and colleagues, such as the filmmakers Peter Nestler, Frans van de Staak, Holger Meins and Jean-Luc Godard or their long-time cameraman Renato Berta. For their part, Straub and Huillet were more often the subject of films by others. Those who have made films about his and her work include Harun Farocki (Jean-Marie Straub and Danièle Huillet working on a film based on Franz Kafka's novel Amerika, 1983), Pedro Costa (Where Does Your Hidden Smile Lie?, 2001) and Peter Nestler (Defense of Time, 2007).

Reception

Their film has received positive responses from leading film critics: in Germany, for example, those of Enno Patalas, Frieda Grafe, Alexander Kluge, Helmut Färber and Ulrich Gregor, later by Harun Farocki and Hartmut Bitmosky and others. In France, the Cahiers du Cinéma, whose authors Michel Delahaye and Serge Daney, later the film critics Bernard Eisenschitz, François Albera and Benoît Turquety; in Italy the Filmcritica and especially its author Adriano Aprá, who also directed the Pesaro film festival for a long time and played the title role in Straub and Huillet's film Othon (1969). The couple's films also found a fan base in the US early on, thanks in large part to the support of arthouse cinema operator Dan Talbot, film critics Jonathan Rosenbaum and J. Hoberman[7][8] and curator Richard Roud, who was the long program director of the London and New York film festivals. Filmmakers Pedro Costa, Deborah Stratman, Thom Andersen, and Ted Fendt have cited them as an influence.

Despite some positive criticism, their films were and are often met with incomprehension. Especially in the first decades of Straub-Huillet's filmmaking, the accusation of amateurism was often raised against them from this side. A criticism based on the concept of continuity and the narrative conventions of classical cinema as a set of values finds numerous breaks in the Straub-Huillet cinema. Another point of criticism is the alleged lack of emotion in their films. Lecture as well as gestures and facial expressions of the actors are expressionless, anti-dramatic and deliberately boring.

The last joint-film by Straub and Huillet, Quei loro incontri, was part of the competition at the 63rd Venice Film Festival in 2006. At the festival, Straub and Huillet were awarded a special prize "for the invention of cinematic language in their entirety." They received late recognition of the film industry by Jury President Catherine Deneuve. But at the award ceremony there was a scandal: Straub and Huillet were not present, instead the actress Giovanna Daddi read a statement written by Straub. It said that as long as there was American imperialist capitalism, there could never be enough terrorists in the world. The statement caused protests at the festival and in the Italian press. The jury discussed withdrawing the award. Defenders of the Straub-Huillet's cinema point out that Straub's private, polemical statements should not influence the appreciation of the cinematic work.[9]

After Danièle Huillet's death in 2006, their work became less controversial. Their work received new international recognition in New York, Paris, Madrid, Berlin, London, Lisbon and Tokyo. The retrospectives were preceded by the successful efforts of BELVA-Film (Jean-Marie Straub, Barbara Ulrich) to restore and digitize their entire work.

From January 2019 through September 2020, the streaming service MUBI held the first digital Straub-Huillet retrospective, showcasing new restorations of fifteen of their films, including Straub's final feature film Kommunisten.[10][11]

Filmography

References

  1. ^ a b "1,000 Greatest Films (Full List)". They Shoot Pictures, Don't They. February 2016. Retrieved 20 March 2016.
  2. ^ Toubiana, Serge (2000). Truffaut : [a biography]. University of California Press. p. 79. ISBN 0520225244. OCLC 612114619.
  3. ^ M., Wiles, Mary (1 January 2012). Jacques Rivette. University of Illinois Press. ISBN 9780252078347. OCLC 929407638.
  4. ^ a b Kehr, Dave (12 October 2006). "Danièle Huillet - Obituary". The New York Times. ISSN 0362-4331. Retrieved 9 March 2017.
  5. ^ "Le cinéaste Jean-Marie Straub est mort". Le Monde. 20 November 2022. Retrieved 20 November 2022.
  6. ^ a b "Jean-Marie Straub and Danièle Huillet • Great Director profile". sensesofcinema.com. Retrieved 9 March 2017.
  7. ^ Rosenbaum, Jonathan. "Once It Was Fire: Introduction to a Straub-Huillet Retrospective (1982)". JonathanRosenbaum. Jonathan Rosenbaum. Retrieved 8 July 2021.
  8. ^ Hoberman, Jim (3 May 2016). "Sick of Popcorn Movies? Straub-Huillet Retrospective Offers an Antidote". New York Times. Retrieved 8 July 2021.
  9. ^ "Straub-Huillet". KINOSLANG. KINOSLANG. Retrieved 8 July 2021.
  10. ^ "A Straub-Huillet Retrospective". MUBI. MUBI. Retrieved 8 July 2021.
  11. ^ Small, Christopher. "A Straub-Huillet Companion: "Sicilia!"". MUBI. MUBI. Retrieved 8 July 2021.

Further reading

  • Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub (1995) by Barton Byg
  • The Art of Seeing, the Art of Listening: The Politics of Representation in the Work of Jean-Marie Straub and Daniele Huillet (2004) by Ursula Boser
  • 'The Invention of Place: Danièle Huillet and Jean-Marie Straub's Moses and Aaron.' (2006) by Jacques Aumont In: M.Lefebvre (Ed.): Landscape and Film, London & New York: Routledge
  • Danièle Huillet et Jean-Marie Straub « objectivistes » en cinéma (2009), by Benoît Tuquety, Lausanne, L’Âge d’homme.
  • Ted Fendt (Ed.), Jean-Marie Straub & Danièle Huillet, FilmmuseumSynemaPublikationen Vol. 26, Vienna 2016, ISBN 978-3-901644-64-1

External links

  • Jean-Marie Straub at IMDb
  • Jean-Marie Straub at Filmportal.de
  • Danièle Huillet at Filmportal.de
  • Too Early, Too Late - by Serge Daney
  • Portrait de groupe avec Straub (Jean-Marie Straub, 2009.3.9, Cinematheque française, Paris. 57'): Vidéo (in French)

January 04, 2023
straub, huillet, this, article, includes, list, general, references, lacks, sufficient, corresponding, inline, citations, please, help, improve, this, article, introducing, more, precise, citations, january, 2016, learn, when, remove, this, template, message, . This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations January 2016 Learn how and when to remove this template message Jean Marie Straub French stʁob 8 January 1933 20 November 2022 and Daniele Huillet pronounced ɥijɛ 1 May 1936 9 October 2006 were a duo of French filmmakers who made two dozen films between 1963 and 2006 Their films are noted for their rigorous intellectually stimulating style and radical communist politics While both were French they worked mostly in Germany and Italy From the Clouds to the Resistance 1979 1 and Sicilia 1999 1 are among the duo s best regarded works Contents 1 Biography 2 Style and content 2 1 Collaboration 2 2 Reception 3 Filmography 4 References 5 Further reading 6 External linksBiography EditStraub who was born in Metz met Paris born Huillet as a student in 1954 Straub was involved in the Parisian cinephile community at the time He was friends with Francois Truffaut and contributed to his publication Cahiers du Cinema although Truffaut refused to publish Straub s more inflammatory writings 2 He worked as an assistant to the film director Jacques Rivette on the 1956 film A Fool s Mate 3 He also worked in Paris as an assistant to Abel Gance Jean Renoir Robert Bresson and Alexandre Astruc The pair later emigrated to Germany so that Straub could avoid military service in Algeria Straub spent his first few years researching Bach Huillet had initially planned to make ethnographic films but eventually assisted Straub on his projects In 1963 they made Machorka Muff an 18 minute short based on a Heinrich Boll story and their first collaboration 4 Their next film the 55 minute Not Reconciled was also a Boll adaptation They did not make a full length feature until 1968 s Chronicle of Anna Magdalena Bach after which they made films at a fairly even rate completing a feature every 2 3 years The production of the Chronicle of Anna Magdalena Bach was very tedious The struggle for funding lasted for ten years until 1967 In 1968 they also made a short film starring Rainer Werner Fassbinder and his theatre troupe called The Bridegroom the Actress and the Pimp citation needed In the mid 1970s they began producing films in Italy Increasingly they began splitting their time between Germany and Italy as well as frequently collaborating with French and British producers citation needed Straub and Huillet lived together for most of their lives They had no children Huillet died of cancer in Cholet on 9 October 2006 aged 70 4 Straub died on 20 November 2022 at the age of 89 5 Style and content EditAll of the films of Straub and Huillet are based on other works novels operas plays and less conventional source materials such as political writings Their sources include writings by Marguerite Duras Franz Kafka Elio Vittorini and Bertolt Brecht two operas by Arnold Schoenberg letters written by Friedrich Engels Wassily Kandinsky and J S Bach and other films including Rossellini s Europa 51 6 Many of their films such as Klassenverhaltnisse stress the relationship between the original text and the film Since their first films Machorka Muff 1962 and Not reconciled 1964 were made in Germany Huillet and Straub were at the time included in the New German Film which was loudly announced in the 1962 Oberhausen Manifesto Frieda Grafe and Enno Patalas wrote about Machorka Muff One should read Boll s book because it has changed through Straub s film It seems more naked and more serious because now with the last camera movement of the film it always points away from itself to Germany If the choice of subjects German post war themes such as the continuity of fascist nationalist thought patterns broken biographies rearmament and a certain brittleness in the acting made the first two films typical productions of the time at first glance the alienating low modulation language of the actors alongside the non chronological editing technique in Not Reconciled and the unconventional handling of the literary templates by Heinrich Boll also instilled among colleagues an incomprehension and rejection At the Oberhausen Short Film Festival in 1963 and the Berlin International Film Festival in 1965 the first two films were rejected by the selection juries and only shown in special events The third film Chronik der Anna Magdalena Bach 1967 was made possible by an unprecedented crowd funding which was supported by Alexander Kluge Heinrich Boll Enno Patalas and the influential magazine Filmkritik With this film which had little in common with other German films of its time Huillet and Straub entered new stylistic and dramaturgical territory The sensual center of the film lacking in conventional film plot is the music of Johann Sebastian Bach which is presented here live in front of the camera and partly in original locations an uncompromising and elaborate appreciation of music in films that Huillet and Straub in the later films Moses and Aron 1974 and From Today to Tomorrow 1996 both based on operas by Arnold Schoenberg The style of all Straub and Huillet s films is that they always play with political commitment in different ways toute revolution est un coup de des based on Mallarme s poem about the nature of chance even in an opera film based on biblical motifs such as Moses and Aron whom they dedicated to Holger Meins Aesthetically they were particularly oriented towards the dramaturgical ideas of Bertolt Brecht for example by saying that the actor should not play his role in an illusionistic way but that he should identify his activity as what it is quoting You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues Nevertheless their films are characterized by an unbelievable aesthetic rigor and formal rigor every shot is precisely constructed no cut is a concession to conventions But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as Kenji Mizoguchi and John Ford Collaboration Edit Due to his more extroverted nature Jean Marie Straub served as the public face of the couple this has contributed to the widespread assumption that Huillet s role in their filmmaking process was secondary citation needed In reality the two split their work equally with Straub responsible for mise en scene Huillet controlling much of the production design and editing process and the two being equally responsible for the pre production texts and rehearsals This method can be seen in Pedro Costa s documentary Where Does Your Hidden Smile Lie filmed during the editing of Sicilia 6 What is special about the work of Huillet and Straub is the often decades long continuity that they have with many of their employees They realized most of their work with two cameramen William Lubtchansky 9 films and Renato Berta 20 films to date with whom Jean Marie Straub still worked The sound engineer Louis Hochet was responsible for the sound recordings for 15 of her films between 1967 and 1998 including the films Chronik der Anna Magdalena Bach 1967 4 Moses and Aron 1974 and Von heute which are determined by live recorded music auf Morgen 1996 each of which broke new ground in integrating music into a film An equally formative connection existed with the Tuscan town of Buti which was used primarily as a location for the films based on Cesare Pavese s dialogues with Leuko as well as with the Teatro Francesco di Bartolo located there whose ensemble has participated in a total of ten films Huillet and Straub often paid tribute to friends and colleagues such as the filmmakers Peter Nestler Frans van de Staak Holger Meins and Jean Luc Godard or their long time cameraman Renato Berta For their part Straub and Huillet were more often the subject of films by others Those who have made films about his and her work include Harun Farocki Jean Marie Straub and Daniele Huillet working on a film based on Franz Kafka s novel Amerika 1983 Pedro Costa Where Does Your Hidden Smile Lie 2001 and Peter Nestler Defense of Time 2007 Reception Edit Their film has received positive responses from leading film critics in Germany for example those of Enno Patalas Frieda Grafe Alexander Kluge Helmut Farber and Ulrich Gregor later by Harun Farocki and Hartmut Bitmosky and others In France the Cahiers du Cinema whose authors Michel Delahaye and Serge Daney later the film critics Bernard Eisenschitz Francois Albera and Benoit Turquety in Italy the Filmcritica and especially its author Adriano Apra who also directed the Pesaro film festival for a long time and played the title role in Straub and Huillet s film Othon 1969 The couple s films also found a fan base in the US early on thanks in large part to the support of arthouse cinema operator Dan Talbot film critics Jonathan Rosenbaum and J Hoberman 7 8 and curator Richard Roud who was the long program director of the London and New York film festivals Filmmakers Pedro Costa Deborah Stratman Thom Andersen and Ted Fendt have cited them as an influence Despite some positive criticism their films were and are often met with incomprehension Especially in the first decades of Straub Huillet s filmmaking the accusation of amateurism was often raised against them from this side A criticism based on the concept of continuity and the narrative conventions of classical cinema as a set of values finds numerous breaks in the Straub Huillet cinema Another point of criticism is the alleged lack of emotion in their films Lecture as well as gestures and facial expressions of the actors are expressionless anti dramatic and deliberately boring The last joint film by Straub and Huillet Quei loro incontri was part of the competition at the 63rd Venice Film Festival in 2006 At the festival Straub and Huillet were awarded a special prize for the invention of cinematic language in their entirety They received late recognition of the film industry by Jury President Catherine Deneuve But at the award ceremony there was a scandal Straub and Huillet were not present instead the actress Giovanna Daddi read a statement written by Straub It said that as long as there was American imperialist capitalism there could never be enough terrorists in the world The statement caused protests at the festival and in the Italian press The jury discussed withdrawing the award Defenders of the Straub Huillet s cinema point out that Straub s private polemical statements should not influence the appreciation of the cinematic work 9 After Daniele Huillet s death in 2006 their work became less controversial Their work received new international recognition in New York Paris Madrid Berlin London Lisbon and Tokyo The retrospectives were preceded by the successful efforts of BELVA Film Jean Marie Straub Barbara Ulrich to restore and digitize their entire work From January 2019 through September 2020 the streaming service MUBI held the first digital Straub Huillet retrospective showcasing new restorations of fifteen of their films including Straub s final feature film Kommunisten 10 11 Filmography EditMachorka Muff 1963 Nicht versohnt oder Es hilft nur Gewalt wo Gewalt herrscht 1965 Chronik der Anna Magdalena Bach 1968 Der Brautigam die Komodiantin und der Zuhalter 1968 Les Yeux ne veulent pas en tout temps se fermer ou Peut etre qu un jour Rome se permettra de choisir a son tour 1970 Geschichtsunterricht 1972 Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene 1973 Moses und Aron 1975 Fortini Cani 1976 Toute revolution est un coup de des 1977 Dalla nube alla resistenza 1979 En rachachant 1982 Trop tot trop tard 1982 Klassenverhaltnisse also released as Class Relations 1984 Der Tod des Empedokles 1987 Schwarze Sunde 1989 Paul Cezanne im Gesprach mit Joachim Gasquet 1989 Die Antigone des Sophokles nach der Holderlinschen Ubertragung fur die Buhne bearbeitet von Brecht 1948 Suhrkamp Verlag 1992 Lothringen 1994 Von heute auf morgen 1997 Sicilia 1999 Operai contadini 2001 Il Ritorno del figlio prodigo Umiliati 2003 Une visite au Louvre 2004 Quei loro incontri 2006 Europa 2005 27 octobre 2006 TV uncredited Dialogue d ombres 2013 References Edit a b 1 000 Greatest Films Full List They Shoot Pictures Don t They February 2016 Retrieved 20 March 2016 Toubiana Serge 2000 Truffaut a biography University of California Press p 79 ISBN 0520225244 OCLC 612114619 M Wiles Mary 1 January 2012 Jacques Rivette University of Illinois Press ISBN 9780252078347 OCLC 929407638 a b Kehr Dave 12 October 2006 Daniele Huillet Obituary The New York Times ISSN 0362 4331 Retrieved 9 March 2017 Le cineaste Jean Marie Straub est mort Le Monde 20 November 2022 Retrieved 20 November 2022 a b Jean Marie Straub and Daniele Huillet Great Director profile sensesofcinema com Retrieved 9 March 2017 Rosenbaum Jonathan Once It Was Fire Introduction to a Straub Huillet Retrospective 1982 JonathanRosenbaum Jonathan Rosenbaum Retrieved 8 July 2021 Hoberman Jim 3 May 2016 Sick of Popcorn Movies Straub Huillet Retrospective Offers an Antidote New York Times Retrieved 8 July 2021 Straub Huillet KINOSLANG KINOSLANG Retrieved 8 July 2021 A Straub Huillet Retrospective MUBI MUBI Retrieved 8 July 2021 Small Christopher A Straub Huillet Companion Sicilia MUBI MUBI Retrieved 8 July 2021 Further reading EditLandscapes of Resistance The German Films of Daniele Huillet and Jean Marie Straub 1995 by Barton Byg The Art of Seeing the Art of Listening The Politics of Representation in the Work of Jean Marie Straub and Daniele Huillet 2004 by Ursula Boser The Invention of Place Daniele Huillet and Jean Marie Straub s Moses and Aaron 2006 by Jacques Aumont In M Lefebvre Ed Landscape and Film London amp New York Routledge Daniele Huillet et Jean Marie Straub objectivistes en cinema 2009 by Benoit Tuquety Lausanne L Age d homme Ted Fendt Ed Jean Marie Straub amp Daniele Huillet FilmmuseumSynemaPublikationen Vol 26 Vienna 2016 ISBN 978 3 901644 64 1External links EditJean Marie Straub at IMDb Jean Marie Straub at Filmportal de Daniele Huillet at Filmportal de Too Early Too Late by Serge Daney Portrait de groupe avec Straub Jean Marie Straub 2009 3 9 Cinematheque francaise Paris 57 Video in French Retrieved from https en wikipedia org w index php title Straub Huillet amp oldid 1122995435, wikipedia, wiki, book, books, library,

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