Mor'vran, la mer des corbeaux

Jean Epstein’s Brittany films are far more than just precursors to neorealism, as is often claimed: it’s only Luchino Visconti’s LA TERRA TREMA (1948) that is a worthy successor to their blend of documentary fascination and lyrical force. With its poetic images set to a popular chanson, LES BERCEAUX is like a premonition of the ravishing documentary poem. MOR’VRAN, LA MER DES CORBEAUX, itself accompanied by Breton folk songs, about the Ile de Seine close to Brest. In L’OR DES MERS, an old Breton outsider finds a chest and becomes the village favourite: an excuse for another dreamlike study of nature, which illustrates Epstein’s insight in passing that “every scene is good in slow motion even with bad actors”. In LE TEMPESTAIRE, his penultimate film, Epstein returned once again in triumphant fashion to this pan-atheistic aesthetic and France’s coasts, expanding slow motion to the soundtrack. (Christoph Huber)

All retrospective films that will be shown at the Filmmuseum after the Viennale - from 29.10. - can of course also be reserved as usual at filmmuseum.at or by calling 01/533 70 54 and purchased at the box office of the Austrian Film Museum. The prices of the Austrian Film Museum apply.