Focus and Retrospectives
D, G, E: Adolfo G. Arrietta
F: Thierry Arbogast
S: Fred Pardon, Claude Coiffier
P: INA, Adolfo G. Arrietta
I: Caroline Loeb, Javier Grandes, Dionys Mascolo, Isabel García Lorca, Pascal Greggory, Jeffrey Carey, Marilù Marini, Jaime Santiago, Paquita Paquin, Eloise Bennet, Enrique Vila- Matas, Raúl Escari
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Barbara, a little girl, afraid of thunder, traces a shadow on the wall with her hand, the shadow of a helmeted silhouette. Since the storm occurred, the silhouette has not left her thoughts. When the girl has grown up, she no longer fears fire and only likes firemen. She even hides some in her bedroom. Usually, the dragon spits fire, grabs the king’s daughter, holds her hostage, and a hero comes to rescue her. Here it is the girl who sequesters her rescuer. One night Barbara’s building catches fire. Nobody intervenes. On each burning floor, is it a friend, a thief, a relative...who calmly waits near the window? No, just a fireman who cannot intervene, because he is already there, on the inside, captive (…) If the fireman is, like all Arrietta’s heroes, an imitation of the angel, it is because there is no love without disguise, no seduction without a uniform, no fire without trapped rescuers. "All my films tell a story of perversion.” (Arrietta) The fire is not in the film, but I see it as his hidden perversion, in other words, his truth. When an angel passes, that is what happens: a hidden fire.
Born in Madrid in 1942. When he was 22 he made his first movie. In 1967 he moved to Paris, where he did most of his work. Arrieta's cinema continues to be a secret and a discreet passion. His name should be mentioned more often, alongside some of his brothers in cinema: Jean Eustache, Philippe Garrel, Jacques Rivette, Werner Schroeter, Andy Warhol, Kenneth Anger or Jack Smith. His films, like the ones by Jean-Claude Biette, Paul Vecchiali or Jean-Claude Guiguet remain a secret within the history of cinema.