TABLE OF CONTENTS

film

Le Départ, Made in U.S.A., Bariera, Mickey One, Puss & Kram, Darling

If any symbolical figure appeared at the film festival in New York, it was the emergence of the Flat Man, a central character structured like a vapor, a two dimensional hat salesman, telephone operator, or decrepit dirt farmer who doesn’t appear to come from any relevant Past, and after aimless reels of time, there is no feeling that any Future is in sight.

The only one who could be remembered with any clarity, with any sense of physical impact coming from the screen, was a sportscar fanatic, a late adolescent (Jean-Pierre Léaud) who gives shampoos and delivers wigs throughout Le Départ. With his crimped manner, a darkly impassioned face and intensely clear definition of some vigorous act that makes him suggest a pair of scissors gone angrily out of control, Léaud is somewhat less frenetic than he was in last season’s Masculin Feminin, where his innocence was more apparent than the

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.