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La Nouvelle Vague par elle-même (1964)
Character: Self
Made for Cinéastes de notre temps series. In 1964, several French New Wave auteurs discuss the success and crisis of the wave. Featuring Claude Chabrol, François Truffaut, Jacques Rivette, Jean-Luc Godard, Jacques Rozier, Jacques Demy, Agnès Varda, Jean Rouch, and many others.
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Jean Renoir, le patron, 2e partie: La direction d'acteur (1967)
Character: Self - Interviewer
Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).
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Rome brûle (1970)
Character: Jacques Rivette
Documentary about filmmaker Shirley Clarke which originally aired on the French television series “Cinéastes de notre temps”.
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Die Geheimnisse von Paris (2012)
Character: Himself
A twenty-minute short documentary produced in 1972 about “Out 1”, directed by Jacques Rivette, featuring Éric Rohmer, Jacques Doniol-Valcroze, Michel Delahaye, and Jacques Rivette.
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Jacques Rivette, le veilleur (1990)
Character: Self - Director
This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.
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Paris nous appartient (1961)
Character: A man at the party (uncredited)
A young woman joins a theatrical troupe where she slowly believes that the director is involved with a secret group and that he is in grave danger.
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Le Joli Mai (1963)
Character: Self (uncredited)
Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.
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Le Coup du berger (1956)
Character: Narrator (uncredited)
Claire is a chic young Parisian woman married to a somewhat older husband, Jean. Claire meets her lover, Claude, at his apartment, where he gifts her a fur coat. Now Claire needs to figure out how to return home with this expensive gift without the affair being found out.
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Jeanne la Pucelle I: Les Batailles (1994)
Character: Priest (uncredited)
Convinced only she can lead France to victory against the invading English, Jeanne leaves her childhood home to plead with Charles, heir to the French throne, to allow her to guide his troops on the battlefield.
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Le Château de verre (1950)
Character: Un voyageur qui sort de la Gare de l'Est (uncredited)
Evelyne, a judge's young wife, falls in love with Rémy while vacationing in Italy. Upon returning home, she must decide between telling her husband and continuing to see Rémy.
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La Mémoire courte (1982)
Character: Marcel Jaucourt
In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.
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Haut bas fragile (1995)
Character: Man at Crepe/Hot Dog Stand
A librarian, a gangster's ex-lover and a woman who has recovered from a coma spend an eye-opening summer in Paris.
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Merry-Go-Round (1981)
Character: Man entering car (cameo)
New Yorker Ben Phillips and mysterious Léo Hoffmann are strangers who are summoned to Paris by a mutual acquaintance. Upon arrival, they meet and soon find themselves tangled in a complex mystery.
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Lumière et Compagnie (1995)
Character: Self
40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes.
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