Critic Rating
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Director
Jacques Rivette
Cast
Michèle Moretti,
Hermine Karagheuz,
Karen Puig,
Pierre Baillot,
Marcel Bozonnet,
Jean-Pierre Léaud
Genre
Drama,
Mystery
In this riveting and experimental mystery, spaced over eight, ninety minute chapters, two dueling theatre groups rehearse plays by Aeschylus, and two solitary individuals wander the Parisian streets hustling the populace for cash and unraveling a vast conspiracy about a secret society. Their stories and paths crisscross as the film’s puzzle-box structure unravels.
The A.V. Club by Ignatiy Vishnevetsky
Uniquely ambitious, Rivette’s film (technically a serial) spends nearly 13 hours stitching paranoia, loneliness, comedy, and mystical symbolism into a crazy quilt big enough to cover a generation.
The Playlist
Out 1 isn’t just exploratory in its filmmaking methods; exploration is its dramatic essence.
The Playlist by Kenji Fujishima
Out 1 isn’t just exploratory in its filmmaking methods; exploration is its dramatic essence.
The New York Times by Glenn Kenny
What plays out is a cinematic experience of life as performance, performance as life, reality as a construction and reality as someone else’s construction impinging on your own. The pace, which picks up and slows down throughout, is not some kind of perverse challenge to the audience. It is intrinsic to the inescapable atmosphere of the work.
Variety by Robert Koehler
Its mind-bending storytelling and themes of play and paranoia make it perhaps the quintessential Gallic movie of its era.
The Guardian by Jordan Hoffman
Out 1: Noli Me Tangere is confounding at every level.
Village Voice by Michael Atkinson
A rambling daydream that aims literally to supplant your life, it's in effect a serial, in eight ninety-plus-minute chapters, TV-ready but defined by Rivette as a consuming theatrical experience. It consumes, all right, like a drug that won't fade, but it's also a lark, a metafiction without any reality, a magnificent irrelevance.
Slant Magazine by Carson Lund
Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis.
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