Abstract

Danièle Huillet and Jean-Marie Straub are filmmakers of principle. Since the beginning of the 1960s, they have been constructing a highly coherent body of work, based on a certain number of very precise, concrete laws. Some of those rules have changed with time and history; others have remained untouched, rigorously observed from the first film until today. They are not an artificial set of constraints, designed to complicate a game that would otherwise be too simple; rather, they define the artist’s position in the world, in the historical moment and political situation in which they live and work, the place where they stand. Some of those rules are explicit: for instance, the sound on the film has to be the..