Regie:
Alain Robbe-GrilletDrehbuch:
Alain Robbe-GrilletKamera:
Willy KurantMusik:
Michel FanoBesetzung:
Jean-Louis Trintignant, Marie-France Pisier, Daniel Emilfork, Henri Lambert, Alain Robbe-Grillet, Charles Millot, Christian Barbier, Raoul Guylad (mehr)Inhalte(1)
A "parody of the old New Wave crime eroticism movies" (The New York Times), Trans-Europ-Express is a self-referential, neo-noir thriller, with heavy doses of sado-masochism, from the mind of Alain Robbe-Grillet (Last Year At Marienbad). On the train from Paris to Antwerp, a director (Robbe-Grillet) and his production team hash out the plot of a crime movie. Their story is enacted by Jean Louis-Trintignant (Amour), who plays Elias, a cocaine smuggler seduced by Eva (Maria France Pisier, Celine and Julie Go Boating), who may be working for a rival gang. But as the director keeps changing the story, Elias becomes lost in a labyrinth of false leads and shifting allegiances. (Verleiher-Text)
(mehr)Kritiken (1)
This film not only plays a game with genres, seriousness, and frivolity, but also with itself. Describing the film within the film does not even come close to exhausting it: yes, the basic axis of cinematic dynamics is formed by the "fictional" story = Trintignant and the drug trade, narrated by a group of filmmakers on a train = as if portrayed "reality," in which the film within the film is supposed to take place (the storyline with Trintignant). But there is still a third level, which makes something non-autonomous primarily from the initial, seemingly "real" level (because in conventional artistic creation, it is presented as a reproduction of reality), because it is derived, unreal, because it is also imagined. This is the level of countless metafictional and alienating effects that not only undermine the foundational layer of "reality" (and which most films, determined to use such methods, end with) but necessarily also the plane of the "fictional" film within the film. Due to this alienating level, there is no fixed place from which a whole story could be credibly logically narrated and be based on a rational sequence of time and character behavior. Because of this fact, both Trintignant and the group of filmmakers are captives of the film author's will, or rather film fantasy as such.
()