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Defined as an ‘animated medley’ by its maker, the film is an animated photographic tribute to cinema through a gallery of stars from the silent era onward, alternating with more or less disorienting images of various origins. Through the widest range of techniques, recombined according to an associative logic that could evoke the cinema of the dada avant-garde, but also fashion magazines from the past, Amour du Cinéma is undoubtedly a singular film with pop overtones. —Tate Modern
Director
Status
Released
Original Language
EN

Short film to a song of love lost and rediscovered, a woman sees and undergoes surreal transformations. Her lover's face melts off, she dons a dress from the shadow of a bell and becomes a dandelion, ants crawl out of a hand and become Frenchmen riding bicycles. Not to mention the turtles with faces on their backs that collide to form a ballerina, or the bizarre baseball game.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?