Most cinephiles know Pierre Clémenti as the energetic actor from films like Luis Buñuel's Belle de jour (1967) and Bernardo Bertolucci's The Conformist (1970). As a filmmaker in his own right, he also held radical views on cinema.
In Clémenti’s last (short) film, The Sun, he combines elements of the ‘diary film’ with autobiographical reconstructions and purely experimental passages. It’s illustrative of his body of work, which is largely composed of daily life material he recorded spontaneously. A jack-of-all-trades, he not only wrote and directed his films but also edited and produced them — similar to the working methods of Jonas Mekas and Belgian filmmaker Boris Lehman, for instance.
Clémenti's stream-of-consciousness voice-over mirrors the associative, fluid editing, set to the hypnotic rhythm of John Livengood's soundtrack. By the end of The Sun, you seem to wake up from a dream.
The Sun was recently digitised and restored by Institut audiovisuel de Monaco, conducted by La Cinémathèque française and Balthazar Clémenti, and in collaboration with Centre Pompidou.
That same evening, Pierre Clémenti's À l'ombre de la canaille bleue (1986), also recently restored, will also be screened.