Onathanrosenbaum

Cinematic Obsessions [THE GANG OF FOUR and SANTA SANGRE]

From the Chicago Reader (June 22, 1990). — J.R. THE GANG OF FOUR *** (A must-see) Directed by Jacques Rivette Written by Rivette, Pascal Bonitzer, and Christine Laurent With Bulle Ogier, Benoit Regent, Laurence Cote, Fejria Deliba, Bernadette Giraud, Ines de Medeiros, and Nathalie Richard. SANTA SANGRE * (Has redeeming facet) Directed by Alejandro Jodorowsky Written by Jodorowsky, Roberto Leoni, and Claudio Argento With Axel Jodorowsky, Blanca Guerra, Guy Stockwell, Thelma Tixou, Sabrina Dennison, Adan Jodorowsky, and Faviola Elenka Tapia. In nearly half his films, 6 features out of 13, Jacques Rivette allows his characters only two possibilities. One is work in the theater, specifically rehearsals — an all-enveloping, all-consuming activity that essentially structures one’s life and assumes many of the characteristics of a religious order. The other, more treacherous possibility is involvement in a real or imagined conspiracy outside the theater — a plot or (the French term is more evocative) complot that is hard to detect yet seemingly omnipresent, sinister yet seductive for anyone who strays from the straight and narrow path offered by the rehearsals. Art versus life? Not exactly; a bit more like two kinds of art, or two kinds of life. Both possibilities convey a sense of forging a fragile meaning over a gaping void. Read more

Jun 18, 2025 - 12:15

From the Chicago Reader (June 22, 1990). — J.R.

THE GANG OF FOUR

*** (A must-see)

Directed by Jacques Rivette

Written by Rivette, Pascal Bonitzer, and Christine Laurent

With Bulle Ogier, Benoit Regent, Laurence Cote, Fejria Deliba, Bernadette Giraud, Ines de Medeiros, and Nathalie Richard.

SANTA SANGRE

* (Has redeeming facet)

Directed by Alejandro Jodorowsky

Written by Jodorowsky, Roberto Leoni, and Claudio Argento

With Axel Jodorowsky, Blanca Guerra, Guy Stockwell, Thelma Tixou, Sabrina Dennison, Adan Jodorowsky, and Faviola Elenka Tapia.

In nearly half his films, 6 features out of 13, Jacques Rivette allows his characters only two possibilities. One is work in the theater, specifically rehearsals — an all-enveloping, all-consuming activity that essentially structures one’s life and assumes many of the characteristics of a religious order. The other, more treacherous possibility is involvement in a real or imagined conspiracy outside the theater — a plot or (the French term is more evocative) complot that is hard to detect yet seemingly omnipresent, sinister yet seductive for anyone who strays from the straight and narrow path offered by the rehearsals. Art versus life? Not exactly; a bit more like two kinds of art, or two kinds of life.

Both possibilities convey a sense of forging a fragile meaning over a gaping void. Read more