Carroll Baker in Station Six Sahara (1963)

Anouk Aimée, Robert Forster, Michael York, and Dirk Bogarde in Justine (1969)

Terence Hill in Trinity Is Still My Name (1971)

Anthony Perkins, Edward Albert, Henry Hull, and Salome Jens in The Fool Killer (1965)

Thomas Rudy in They Call Me Trinity (1970)

Anna Karina

Bruno Cremer

Jean Rochefort

André Farwagi

Alain Morineau

A woman witnesses a video taped murder and is marked for elimination by the killer.

Le temps de mourir

Excellent experimental work

Anna Karina is a terrible actress but she doesn&apos;t grate on the nerves too much here. Cremer and Rochefort are enough to merit a viewing of TdM -- one as the potential-victim, the other as the potential- murderer -- they are perfect. 

Although exploring a banal concept, the essence of the question TdM asks is relevant. And so, there are numerous interpretations of the ending and the overall proposition the film makes -- that the 3 characters (Karina / Cremer / Rochefort) are entangled in a perpetual, cyclical, re-occurring event: Cremer&apos;s murder at the hands of Rochfort and the circumstances leading into it. 

A mysterious, foreboding tape has been brought to Cremer by an ethereal amnesiac riding in on horseback (Karina) - who feels she knows the men she meets although they,in turn, do not know her...at least consciously. Cremer has clearly forgotten making love to this strange woman in some parallel realm. An unpleasant corporate type (Rochefort) is shown shooting Cremer on this tape. So Cremer sends his goons to kidnap Rochefort and get to the bottom of things -- somehow. How could have Rochefort killed someone before he actually commits the act itself? Can a future event be predicted?! Oh, and there&apos;s a supposedly ultra-sophisticated sentient being (like the iPhone of the day, I suppose) which fails to rescue Cremer from the said predicament...or maybe it&apos;s not his predicament but only (wait for it)...his fate!?

Good fun, this dusty print. The cinematography and general aesthetic of TdM is velvety smooth and full of gilded tapestries, massive geometric paintings, and of course, some thinly veiled criticism of the bourgeoisie.

Anna Karina is a terrible actress but she doesn't grate on the nerves too much here. Cremer and Rochefort are enough to merit a viewing of TdM -- one as the potential-victim, the other as the potential- murderer -- they are perfect. 

Although exploring a banal concept, the essence of the question TdM asks is relevant. And so, there are numerous interpretations of the ending and the overall proposition the film makes -- that the 3 characters (Karina / Cremer / Rochefort) are entangled in a perpetual, cyclical, re-occurring event: Cremer's murder at the hands of Rochfort and the circumstances leading into it. 

A mysterious, foreboding tape has been brought to Cremer by an ethereal amnesiac riding in on horseback (Karina) - who feels she knows the men she meets although they,in turn, do not know her...at least consciously. Cremer has clearly forgotten making love to this strange woman in some parallel realm. An unpleasant corporate type (Rochefort) is shown shooting Cremer on this tape. So Cremer sends his goons to kidnap Rochefort and get to the bottom of things -- somehow. How could have Rochefort killed someone before he actually commits the act itself? Can a future event be predicted?! Oh, and there's a supposedly ultra-sophisticated sentient being (like the iPhone of the day, I suppose) which fails to rescue Cremer from the said predicament...or maybe it's not his predicament but only (wait for it)...his fate!?

Good fun, this dusty print. The cinematography and general aesthetic of TdM is velvety smooth and full of gilded tapestries, massive geometric paintings, and of course, some thinly veiled criticism of the bourgeoisie.

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Le temps de mourir

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