Andre Techine

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Téchiné is a descendant of a second generation of French film critics associated with Cahiers du cinéma, including François Truffaut, Claude Chabrol, Jean-Luc Godard, and others from critique to filmmaking. He is best known for his stylish and emotionally charged films that often delves into the human condition's complexities. As shown in his most celebrated films: My Favorite Season (1993) and Wild Reeds (1994), one of Téchiné's trademarks is the investigation of human relationships in a sensitive but unsentimental way.

He addresses a variety of aspects of modern life, such as homosexuality, marriage, adultery, family dissolution, prostitution, cocaine use, or AIDS.

Life

André Téchiné was born in Valence-d'Agen, a small town in the Midi-Pyrénées region, France's department of Tarn-et-Garonne, France. His family, who is of Spanish ancestry, owned a small agricultural equipment company. He grew up in the southwest French countryside and developed a passion for film in his adolescence. He went to a Catholic boarding school in Montauban from 1952 to 1959. He could only leave on Sunday afternoons, when he would go to the theater, but he was often forced to return before the screening ended. He moved to a secular state school in 1959, exposed him to a different culture, with Marxist teachers, a film club, and a film magazine, La Plume et écran, to which he contributed. "Films were my only gateway to the world," Téchiné said. "They were the only way of escaping my family's house and my boarding school." I was certainly risky because, through movies, I learned how the world works and how human relations work. It was magical, but I was determined to keep the thread of that magic."

He went to Paris at nineteen to pursue filmmaking. He failed the entrance exam at France's most prestigious film school, but he started writing articles for Cahiers du cinéma, where he worked for four years (1964–1966). His first article, published in July 1964, was about Truffaut's The Soft Skin.

Téchiné's first filmmaking experience came from a theatrical background. In Les Idoles (1967), a film version of an experimental play, he went on to become assistant director for Marc'O. Jean Eustache edited this film; Téchiné makes an uncredited walk-on appearance in Eustache's film La Maman et la putain (1972). Téchiné was also assistant director to Jacques Rivette (his editor at Cahiers du Cinéma) on L'amour fou (1969).

Téchiné is known for his sleek and emotionally charged films that often delves into human behaviour and emotions. The investigation of human relations in a non-invasive but not formal manner is one of Téchiné's trademarks. Téchiné's style, whether it be inspired by Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner, and the cinematic French New Wave, he challenges expectations in his depictions of gay rights, contemporary French culture, or the central-periphery relationship between Paris and his native Southwest. Fear of flying has stopped him from attending most film premieres or festivals more than a train ride from his Paris apartment overlooking the Luxembourg Garden.

"I never know how much money will be ending each film," Téchiné said. "I shoot every scene as if it were a short film when I'm filming." I'm only worried about the story when editing. My aim is to tell a tale, but that's the only thing I do."

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Film career

André Téchiné's debut as director with Paulina s'en vain (1969), in which the title character wanders aimlessly, looking for a way out of her disenchantment and finding her calling in life. The film was originally planned as a short and was shot in two phases, over a week in 1967 and two weeks in 1969. It was on display at the Venice Film Festival this year, but not until 1975 that it was shown. In the meantime, Téchiné produced screenplays for other writers, including one for Liliane de Kermadec's Alo'se.

Téchiné came to fame with his second film, Souvenirs d'en France (1974), a blend of black comedy, romantic romance, and nostalgia with a distinct tone, after working in television and theater. The film was inspired by Orson Welles' The Magnificent Ambersons and shot in Téchiné's native village. It's a short history of a small-town family from the beginning of the century to the Civil War and then to May 1968. Téchiné investigated the connection between the grand scheme of life and more personal histories. Jeanne Moreau appears in the film.

With his next film, Barocco (1976), a crime drama, Téchiné demonstrated his penchant for atmospheric storytelling. A hired assassin killed a boxer who accepted and later regretted a huge bribe from a politician to reveal a lie that could affect an election. The boxer's mother eventually falls in love with the killer while trying to make him into the image of her murdered lover. The film received critical acclaim for its chic appearance.

Téchiné's biography, three years later, was published with Les s'urs Bronte Sisters (1979), a look at the Bronte Sisters. The film's heavy, repressive mood evokes the brutality and injustice of the sisters' lives. The passion and hue that is so vivid in their books is missing from their daily lives, and the film's gloomy cinematography references this. Emily, Charlotte and Anne Bront, and Isabelle Huppert as their ill-fated brother Branwell appear in the film.

In a tale of hopelessly matched love, Hôtel des Amériques (1981), which is located in Biarritz, delves into the tense relationship between a wealthy middle-aged woman and an unbalanced man. This film was a turning point in Téchiné's career, anchoring his work in a more realistic setting than the previous romantic one. For the first time since, Téchiné let his actors improvise, a tradition he has continued ever since, with scripts adapting his scripts to accommodate the new content. "My films are no longer genre films from Hôtel des Amériques onwards," he said. "I am no longer inspired by the movie." Catherine Deneuve's long-running collaboration began with this film. "There are some directors who are more feminine than others, such as Truffaut, and Téchiné." They are an outstanding gift to actresses," Deneuve said.

With Rendez-vous (1985), a noir melodrama replete with the seductive surface of the time, Téchiné returned to critical interest with television production La Matiouette ou l'arrière-pays (1983). Nina, a would-be actress who left her provincial home for Paris, enters a turbulent love affair with a tragic, self-destructive young actor who caused the death of his ex girlfriend. When the actor himself is killed in an accident or suicide, his late mentor/director, and the father of the deceased woman, decides to portray the inexperienced Nina as the female lead in 'Romeo and Juliet,' a role his deceased daughter played. Téchiné received the Cannes Festival Best Direction Award for assisting with the introduction of Juliette Binoche's career as the career's first director of the post-New Wave, by now considered by some to be a major director of the post-New Wave.

Le lieu du crime (1986) (Scene of the Incarcation) The tale unfolds in a small provincial town, where a teenage boy assists a criminal who has escaped from jail. The young boy, who was largely impacted by his parents' separation, lives with his mother and grandparents, although the father lives near. The convicted murderer commits murder to shield the child from harm, but the mother becomes involved. The mother, who has been trapped in a mediocre existence, has fallen in love with the convict and wants to run away with him by the time the boy's first communion is coming.

For the first time, a young woman, born and raised in Northern France, is visiting Toulon, Téchiné's next film, Les Innocents (1987). Two events have prompted her: the wedding of her sister and her brother's disappearance as a pickpocket under the tutelage of a young Arab and an older bisexual married man with a preference for young Arabs. The girl meets them and discovers herself attracted to the young Arab and the older man's son, who is bisexual like his father. She is set to be torn between the two women in a romantic and sexual dilemma that mirrors France's political turmoil over the country's growing Arab population.

J'embrasse pas (I Don't Kiss) (1991) is a grim, melancholic portrait of a young man struggling to find meaning in his life. An idealistic 17-year-old boy leaves his house in France's rural southwest, aspiring to make a living as an actor in Paris. After an exciting start, he quickly discovers that he has no talent as an actor and therefore, he loses both his work and his room. In the end, he's going to live as a male prostitute. He falls in love with a teenage prostitute, but the marriage has tragic repercussions for him.

My Favorite Season (Ma saison préférée) (1993) is a dark and somber tale about middle-aged siblings, a provincial prosecutor (sister), and a surgeon (brother). When their elderly mother starts to decline after a stroke, they've started to deal with what they've become professionally and personally. "Mate èchée" is a film "about individuality and the modern world's coldness." When it was first shown in competition at the 1993 Cannes Film Festival, it received acclaim.

Téchiné's first year with Wild Reeds (1994), his highest success to date (Les roseaux sauvages). The film was first shown at cinemas by French television as one of a series of eight films entitled Tous les garçons et les filles de leur âge. This is a tale of teenage self-discovery centered on four teenagers attending an Aquitaine boarding school in 1962, with their political and sexual awakening as a backdrop, with the Algerian War as a backdrop. Téchiné works with a variety of subjects, such as family ties, homosexuality, and exile. Wild Reeds is his most autobiographical film; like the teen Téchiné, the main protagonist, François, attends an all-male boarding school. Though Téchiné said he was more concerned with François' discovery that he is gay, he was determined to demonstrate how the Algerian war of independence was felt in a rural corner of France. "If I hadn't been able to inject this, if I hadn't been making a film about adolescent coming of age would not have bothered me at all," he explained.

Wild Reeds received four out of eight nominations (best film, best script, and best newcomer for Élodie Bouchez), a hit at the 1994 César award ceremony. In 1994, it was also a winner of the Prix Delluce. This was Téchiné's sixth film to be released in the United States (following French Provincial (Souvenirs d'en France), Barocco, Hôtel des Amériques, Rendez-vous, and Scene of the Crime) and his first autobiographical film to date. Wild Reeds received the New York Film Critics Award and the National Society of Film Critics Award for Best Foreign Language Film.

Acclaim was given to the director in 1996 with Les voleurs (Thieves) (1996), an exciting and complicated crime drama. In a Rashomon-style film about family and amorous ties, the film scrolls through time and shifts narrative perspectives. It describes a fatalistic world bound by family roots and intimate longings in which every character is tied to becoming a thief of some sort or other, both physically and mentally. As well as a number of other awards, this film received Téchiné nominations for the César and Golden Palme at Cannes.

Téchiné mirrored his triumph with Alice et Martin (Alice and Martin, 1998), a haunting love tale between two emotionally wounded strangers that marked his reunion with Juliette Binoche. Téchiné told the story out of sequence in his previous film Les Voleurs.

Loin (Far) (2001) was shot on digital film. For the most part, it uses a slightly degraded video image to create a sense of decay and terror. The film is set in Tangier and is told in three "movements," with chapter segments numbered by chapters. The plot revolves around three characters: a truck driver who is importing goods from Morocco and France is tempted to cross the strait to Spain smuggling drugs; his teenage Arab friend is anxious to go to Europe; and the driver's Jewish ex-girlfriend who is concerned about her future migration to Canada. There are some traumatic decisions to make during the three days they are together.

André Téchiné's debut with Strayed (Les égarés) (2003), a French translation of the novel Le Garçon aux yeux gris, by Gilles Perrault, earned acclaim after two less fruitful ventures. Although Téchiné weaves several stories together, this wartime tale tells a single linear story with only four characters. With her small daughter and teenage boy, an attractive widow flees Nazi-occupied Paris for the South; they are soon joined by a nefarious young man. In an abandoned house, the foursome find a way out of the war.

(Les temps changent) is a newspaper published in Morocco that describes the transition between two cultures and two models on experience and the eternal power of love. A middle-aged building boss in Tangier is looking for the love of his youth, which was not present many years ago. She is now married and has a grown up son. They eventually crossed paths in a supermarket. Téchiné weaves a half dozen subplots together, resulting in a series of variations on the theme of divided sensibilities, pulling one another into states of constant conflict and potential happiness.

Les Témoins (The Witnesses) is a magazine that published articles about a group of friends and lovers living in the 1980s facing the AIDS epidemic. Mehdi, a French-Arab vice cop, is married to Sarah, a children's book author who finds herself unable to identify with her infant child. Adrien, Sarah's best friend and middle-aged doctor, is infatuated with Manu, a narcissistic young man who has recently arrived in Paris from South Africa. Julie, Manu's opera singer sister, and Sandra, Manu's hooker companion, are among the story line. Before the AIDS epidemic interrupted the characters' lives, the film is full of color, life, and emotion. Les Témoins received widespread critical acclaim, and Téchiné gained a certain degree of foreign interest after his films' triumphs, Wild Reeds and Les Voleurs, which he had not gotten before.

The Girl on the Train (La fille du RER) is a naive naive girl who creates a tale about black and Arab youths who allegedly mistook her for a Jew. The tale is based on a true event that occurred in France in 2004. Téchiné delves into the psychological and emotional aspects of this bold lie in the midst of such drama. In part, the director benefited from Jean Marie Besset's RER film about the affair, as well as news and court records. "The story became the mirror of all French apprehensions," Téchiné said, "a ray of what we'd call the 'collective unconscious." How an individual's lie is transformed into truth with the support of the community and its concerns. It's a fascinating subject."

Unforgivable, a Philippe Djian's book set in Venice, follows Francis, an aging crime fiction writer, married to a much younger ex-model. Although suffering from writer's block, he employs his wife's ex-lesbian companion to look into the disappearance of his adult daughter from a previous marriage who had eloped while visiting Venice. Francis pays the detective's befuddled son to cover his wife's daily whereabouts as his marriage begins to unravel.

A fictionalized account of true events, like The Girl on the Train (In the Name of My Daughter) is a fictionalized version of true events. In this case, the time before and after the abduction of a casino heiress, Agnès Le Roux, in 1977 was crucial. The plot includes amour fou, mafia wars, a dysfunctional mother-daughter relationship, and courtroom drama. In this retelling of a case that made news in France, the history of the French Riviera's casinos and the mafia wars in the 1970s are mixed with the 1970s.

The film, which is based on Agnès Le Roux's memoir Une femme face à la Mafia, marks André Téchiné's 7th collaboration with Catherine Deneuve.

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