Playtime (1967) by Jacques Tati.
“Playtime is a very complex film with very different patterns and a groundbreaking narrative, using the progressive disappearance of the character of Mr Hulot. This character, whom we have known since Les Vacances de Monsieur Hulot, loses his central role a bit more with each new film. In Jacques Tati’s last films, ensemble structures replace the main part played by Mr Hulot. Tati’s work becomes more and more democratic and the character of Mr Hulot almost disappears. The work on the sound is groundbreaking, and so is the work on the picture. I think Playtime is the only real film that fully uses the 70mm format. In principle, 70mm is used as a spectacular “gimmick”, because in the 70mm picture there is space to add many more elements than in 35mm. The work on space that we can see in Playtime offers a brand new syntax of the screen. The problem is that Playtime is a film which is hard to understand on the small screen. There is no place today for 70mm. If you have the chance to see Playtime on its original format you can find many surprises for the eye. In one single frame you can choose between 4 or 5 visual patterns spread out across the large surface of the screen. You can find a sequence with lots of visual effects and metaphors in the upper left corner of the screen, and another one in the lower right corner… Lots of surprises indeed! It’s a use of space completely different, which goes much further than Orson Welles’ work on depth of field, according to me. Because Tati not only uses depth of field, but also a real work on screen surface. It is a bit complicated to explain with words: it is a poetic experience of space totally new and very modern, where spectators have a great role to play as co-directors, since they have to choose between all the visual elements offered to them. This is why Playtime is a film that you can see many times: you rediscover it during each screening.”

More informations about Playtime.

José Luis Guerin was born in Barcelona. He started his career directing experimental films from 1975 to 1983, then directed his first feature film in 1983, Los Motivos de Berta. His film received a special price at the Berlin Forum. In 1988, José Luis Guerin directed the Spanish episode of City Life – the other episodes being directed by Reichenbach, Kieslowski, Agresti, Tarr, Sen et Rijneke. City Life was awarded in Berlin, Rotterdam and Montreal Film Festivals. In 1990, José Luis Guerin directed Innisfree, presented in competition at Cannes International Film Festival. In 1997, Tren de Sombras - presented during the Directors’ Fortnight in Cannes - obtained the Golden and Silver Melies awarded by the European Federation of Fantasy Film Festivals. Then, in 2001, José Luis Guerin directed En construccion, awarded in San Sebastian Festival and, in 2007, En la ciudad de Sylvia, selected by the 2007 Venice Film Festival.