Hayat 1982
Time Hot faces from Europa
PLG: Quelles sont vos références littéraires ? Cinématographiques ?
Loustal: Pour ce qui est des références littéraires, cela va des auteurs américains comme Tennesse Williams, Truman Capote, Fitzgerald ou Corson Mac Cullers à des auteurs français comme Simenon, Modiano. Enfin, ce sont ceux que j'ai en tête maintenant...
Pour le cinéma, je suis très éclectique, cela va de Fellini à Wenders en passant par Peckinpah ou Kubrik. Je ne déteste pas non plus les petites productions policières ou d'horreur. En fait, je suis un gros consommateur de films...
PLG: On retrouve dans vos histoires des ambiances proches de celles qui caractérisent le cinéma de Wenders. On perçoit une certaine connivence...
Loustal: Oui, des films comme L'ami américain ou L'état des choses me touchent beaucoup, c'est vrai qu'il y a une similitude dans la façon d'appréhender l'espace, dans les cadrages, dans la mise en images du temps qui passe.
PLGppur N 21 Couv.Loustal.- Dossier Loustal 19 -36 p.
One of German director Wim Wenders' many great movies, this won the coveted Palme d'Or award at Cannes. It involves a drifter (Harry Dean Stanton), who has been lost in the wilderness of Texas for four years. He has lost all memory of his former life. Then, he comes to a small town in the desert, where Stanton's brother (Dean Stockwell) finds him. Stockwell returns to his home in LA with his long lost brother in tow. Stanton is meanwhile beginning to remember who he is and what he has done in the past. He knows he must search for his wife and son. He finds his son (Hunter Carson) in the custody of Stockwell and his wife (Aurore Clement). He finds his wife (Nastassja Kinski) in a sleazy strip joint in Houston. However, despite these problems, he attempts to reconcile with Carson and Kinski and bring them together again.
A most compelling drama, with some of the most amazing work ever done by filmaker Wenders, screenwriter Sam Shepard and the cast, such as Stockwell and Stanton. Kinski comes off amazingly fine and young Carson gives one of the best juvenile performances to date. The cinematography, capturing the desolation of the American southwest, is simply breathtaking. It's a tad slow, but it is something you should not miss.
"Des images sans paroles nourries de littérature", ainsi débute cette rencontre avec le style Loustal. Peintre aux couleurs tropicales, dessinateur de bandes dessinées aux cadrages cinématographiques, Loustal avoue être marqué par une imagerie américaine façon Wim Wenders ou David Lynch. Loustal dans "Faiseur d'images", 1998
This film about Loustal's stylistic approach opens with "images without words inspired by literature". A painter who uses tropical colours, an artist whose comic strips are framed like film shots, Loustal admits to being inspired by the sort of American-style imagery found in the films of Wim Wenders and David Lynch. Loustal in "Faiseur d'images", 1998
Video 7 (France) September 1985, Iss. 48
Grand Hotel (Italy) July 1985
Albo Blitz (Italy) 26 January 1985, Iss. 4
Films and Filming (UK) June 1984
Playboy (Japan) June 1984
Bunte (Germany) 26 January 1984
Skoop (Netherlands) 1984, Iss. 11
Vogue (USA) July 1983
Freizeit Revue (West Germany) 23 June 1983, Iss. 26
Time (USA) 2 May 1983
Playboy (France) May 1983, Iss. 114
Playboy (USA) May 1983, Vol. 30, Iss. 5
Playboy (Germany) May 1983
Cinema (Germany) April 1983, Iss. 59
Interview (USA) February 1983, Vol. 13, Iss. 2
Celebrity Skin (USA) 1983, Iss. 6
Filmspiegel (East Germany) 1983, Iss. 23
Screen (Japan) December 1982
Premiere (Canada) September 1982
Cinema (Germany) August 1982, Iss. 51
Vogue (USA) July 1982
Rolling Stone (USA) 27 May 1982, Iss. 370
Prevue (USA) May 1982, Vol. 2, Iss. 71
American Film (USA) April 1982
Prevue (USA) April 1982
American Photographer (USA) March 1982
Playboy (France) October 1981
Status (Brazil) September 1981
Partner (USA) July 1981
Films Illustrated (UK) May 1981
Epoca (Italy) 21 February 1981
Cinema (Germany) December 1980, Iss. 12
Bunte (Germany) 18 September 1980
Playmen (Italy) September 1980
Bravo (Germany) 5 June 1980
Vogue (USA) May 1980
Epoca (Italy) 26 April 1980
Bunte (Germany) 10 April 1980
Bravo (Germany) 10 April 1980, Vol. 25. Iss. 5
Manchete (Brazil) 5 April 1980
Pop (Germany) April 1980, Vol. 15, Iss. 4
Lui (France) April 1980
Epoca (Italy) 22 March 1980
Veronica (Netherlands) 2 February 1980, Iss. 5
Haagse Post (Netherlands) 26 January 1980
Bunte (Germany) 27 December 1979
Epoca (Italy) 17 November 1979
Tachydromos (Greece) 1 November 1979
Cinema Magazine (Belgium) November 1979, Vol. 3, Iss. 28
Quick (West Germany) 31 October 1979
Vogue (France) October 1979
Quick (West Germany) 23 August 1979
Bunte (Germany) 9 August 1979
Quick (West Germany) 5 July 1979
Epoca (Italy) 30 June 1979
Contro (Italy) May 1979
Panorama (Netherlands) 5 January 1979, Vol. 66, Iss. 1
Le Soir Illustre (France) 1979, Iss. 10
Cine Plus (France) 1979, Iss. 20
Praline (West Germany) 21 December 1978, Iss. 52
Bunte (Germany) 23 November 1978
Bravo (Germany) 8 November 1978, Vol. 24, Iss. 46
Praline (West Germany) 2 November 1978, Iss. 45
Playmen (Italy) October 1978
Quick (West Germany) 28 September 1978
Bravo (Germany) 24 August 1978, Vol. 23, Iss. 35
Cine Revue (France) August 1978, Iss. 33
Praline (West Germany) 27 April 1978, Iss. 18
Bunte (Germany) 2 March 1978
Bravo (Germany) 26 January 1978, Vol. 23, Iss. 5
Praline (West Germany) 19 January 1978, Iss. 4
Il Monello (Italy) 1978, Iss. 38
Quick (West Germany) 15 December 1977, Iss. 52
Bravo (Germany) 27 October 1977, Vol. 22, Iss. 45
Quick (West Germany) 22 September 1977
Bravo (Germany) 14 July 1977, Vol. 22, Iss. 30
Bravo (Germany) 26 June 1977, Vol. 22, Iss. 23
Bunte (Germany) 5 May 1977
Bravo (Germany) 22 July 1976, Vol. 21, Iss. 31