Had he not died in 1934 at the young age of 29, Jean Vigo would have been 100 years old in 2005. It may seem surprising to celebrate the hundredth anniversary of the birth of the son of an anarchist, not least because he died as a near complete unknown. Nevertheless, the collective work of Jean Vigo, discovered only some time later, has resisted the ravages of time thanks to the very modern nature of its cinematographic expression, the enjoyment, shared by his collaborators, with which Vigo made his films, and the acuity of his vision of the world, which he himself referred to as “a documented point of view”. Many are the contemporary filmmakers who see themselves in Vigo, including Nouvelle Vague directors, Otar Ioseliani and Aki Kaurismaki, to name only two. It is thanks to writers, critics, historians and cinema club managers like Henri Langlois, co-founder of the Cinémathèque française, that Jean Vigo’s work is known to us today and still enjoyed by scholars and students of abstract cinematography.
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