Bulle Ogier (Marie-France Thielland) worked in her youth for the Chanel fashion house until a high-quality experimental theatre group (i.a. Marc’O., Jean-Pierre Kalfon, and Pierre Clément) swept the talented woman away.
Jacques Rivette was one of those enthusiastically wearing down the auditorium seats, one of the most important co-operationists in her future career in film. As the herald of his mischievous illusionist worlds Ogier perfectly captured the streams of a new expression her director was searching for.
A short listing of Ogier’s directors speaks a language of its own: Téchiné, Delvaux, Buñuel, Lelouch, Garrel, Bellon, Schroeter, Oliveira, Chéreau, Audiard, Ruiz, Assayas, Iosseliani, Schmid.
The iconic gestures of the actress combine into a maelstrom of intimate register and riotous outward style of musicals. Le pont du Nord may be the most beautiful mother/daughter collaboration in the whole history of cinema. Alain Tanner’s The Salamander (1971), could well be described as “Jules and Jim written by Cornell Woolrich that could’ve been shot in the kitchen of Jean Eustache”.
The Colour of Lies (1999), one of the pearls of Claude Chabrol’s late period, contains a more traditional part – a “supporting role” that grows into the key to everything, verifying Ogier’s lighter and more playful side.
Ogier received the Lifetime Achievement Award at Locarno in 2015. She is an honor guest of the Midnight Sun Film Festival, where four of her films will be released : La Salamandre (Tanner, 71), Duelle (Rivette, 76), Maîtresse (Schroeder, 76) and Au cœur du mensonge (Chabrol, 99).