Guy Gilles
Guy Chiche, known as Guy Gilles, was born in Algiers on August 25, 1938, and died in Paris on February 3, 1996. He was a French director and screenwriter. In 1958 he made his first short film, Soleil éteint, thanks to a maternal inheritance. After studying fine arts, he left for Paris where he worked as an assistant to François Reichenbach in 1964. His first feature film, Love at Sea (1964), in which Juliette Gréco, Jean-Claude Brialy and Jean-Pierre Léaud made brief appearances, went out without a distributor in 1965. He then worked for television and shot "cine-reports". During his career, he directed several feature films which, despite a good critical reception, were shunned by the public. Let us name among others Wall Engravings (1968), Repeated Absences (1972), The Garden That Tilts (1975). In 1975, he made a documentary on Jean Genet, Saint, poète et martyr, which was screened during a gay film festival where an extreme right-wing group interrupted and struck the director. His last films to be released in theaters are Le crime d'amour (1982), with Richard Berry and Jacques Penot, and Nuit docile (1987). Suffering from AIDS, encountering difficulties with production, he struggled to complete Néfertiti, la fille du soleil in 1994. He died in 1996.
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Femmes écrivains
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Françoise Sagan, Clara Malraux, Henriette Jelinek, and Françoise Mallet-Joris share their vision of literature and discuss the reasons that drive them to write.
Le cirque des muchachos
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Guy Gilles films the lives of young artists aged 12 to 18, members of a circus set up for two weeks at Porte Maillot in Paris. Between open-air rehearsals and acrobatic acts, the filmmaker captures the fragile magic of adolescence and the surge of freedom carried by the dream of performance.
Vies retrouvées
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In an old abandoned farmhouse in Ardèche, a young man finds around fifty letters along with a forgotten notebook. Back in Paris, he discovers they are a love correspondence between a young peasant woman and a captain during the First World War. The film recreates this love story.
Ciné Bijou
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Over images of an abandoned movie theater slated for demolition, the voice of Guy Gilles evokes the soul of these neighborhood cinemas—magical places that gave him a certain idea of freedom, escape, and dreams. An intimate and poetic tribute to the seventh art and to its temples, now threatened or gone.
Paris, un jour d'hiver
Guy Gilles takes his camera around Paris on a winter's day. He follows passers-by, children playing in the snow, the gaze of people behind their windows, and plays with the fog and winter's bare trees.
Chanson de gestes
In a poetic fashion, a game around daily gestures. Spontaneous choreography of the hands, offices where newspapers are cut, rooms where one paints, where one undresses. A hand passed through his hair, a wrist twirling on an archer, an obsessed search.
Femmes écrivains
Subscription access
Françoise Sagan, Clara Malraux, Henriette Jelinek, and Françoise Mallet-Joris share their vision of literature and discuss the reasons that drive them to write.
Le cirque des muchachos
Subscription access
Guy Gilles films the lives of young artists aged 12 to 18, members of a circus set up for two weeks at Porte Maillot in Paris. Between open-air rehearsals and acrobatic acts, the filmmaker captures the fragile magic of adolescence and the surge of freedom carried by the dream of performance.
Vies retrouvées
Subscription access
In an old abandoned farmhouse in Ardèche, a young man finds around fifty letters along with a forgotten notebook. Back in Paris, he discovers they are a love correspondence between a young peasant woman and a captain during the First World War. The film recreates this love story.
Ciné Bijou
Subscription access
Over images of an abandoned movie theater slated for demolition, the voice of Guy Gilles evokes the soul of these neighborhood cinemas—magical places that gave him a certain idea of freedom, escape, and dreams. An intimate and poetic tribute to the seventh art and to its temples, now threatened or gone.
Paris, un jour d'hiver
Guy Gilles takes his camera around Paris on a winter's day. He follows passers-by, children playing in the snow, the gaze of people behind their windows, and plays with the fog and winter's bare trees.
Chanson de gestes
In a poetic fashion, a game around daily gestures. Spontaneous choreography of the hands, offices where newspapers are cut, rooms where one paints, where one undresses. A hand passed through his hair, a wrist twirling on an archer, an obsessed search.
