Boy Meets Girl 4K 1984 Ultra HD 2160p

The beginning of this unspoken trilogy about the relationship between a man and a woman shaped Carax’s creative work for several years to come, while also serving as a catalyst for the revival of the avant-garde movement in French cinema, later affectionately referred to with nostalgic fondness as the “new New Wave”—a second landmark emergence of experimental film enthusiasts who rejected the mindless entertainment of the mainstream and preferred the individuality of visual means of expression to convey the director’s vision over the canons of classical filmmaking.

Unconnected in plot to his subsequent films, Carax’s debut work is a straight-ahead exploration of the director’s inner experiences, as he immortalizes himself on screen through the protagonist Alex, the cult filmmaker’s alter ego. He is devoted to love and seeks love. He meticulously collects vivid, emotional memories of his life on the wall of a secluded room, where—soon—a deliberate encounter with an actress abandoned by her lover will be immortalized in black ink. The brightness of the heartfelt emotions celebrated in poetry is hidden behind the overwhelming longing in the eyes of Mireille Perrier, who has repeatedly attempted to break free from the vicious cycle of loneliness with the blade of a pair of barber’s scissors, but in the end...

The banality of the content is masked by extraordinarily inventive artistic techniques and expressive allegories, which, however, are unable to cobble together a fully-fledged dramatic framework from individual sketches. Inaccessible to the general public, *Boy Meets Girl* is a striking example of elitist art, whose message is as simple as its fantastical reality is complex. In a deliberately theatrical setting, the cardboard-like characters exist within a universe governed by its own logic, illustrating the labyrinths of the soul through dry monologues and—as is typical of Carax—are denied the right to happiness.

‘I don’t really know what the public is like. I only know that it’s a handful of people who will die pretty soon. I’m far more interested in personal films than in public ones.’

Leos Carax

Of all the possible paths in life, Alex chooses only the one that is impossible by definition, and the renowned director will ultimately part ways with his muse, prompting us time and again to seek him in the faces of the actors involved in these sorrowful epitaphs. Such is the hallmark of the French avant-garde filmmaker. A young man meets a young woman to share with her the anguish, hopelessness, and despondency that grow as they grow closer in the dull world of ordinary people, while the viewer listens to Carax’s boundless melancholy for the sake of the black-and-white beauty of his eccentric mise-en-scène—captivating and inscrutable at the same time.

“People sometimes like my films. But they don’t love them for the reasons I’d like them to be loved.”