Reviews

Intriguingly, many of Cauchetier's most famous pictures epitomising the new wave, weren't actually in the films themselves. One day shooting Breathless on the Champs-Elysees, so many onlookers gathered that Cauchetier couldn't get close. He asked Belmondo and Seberg to come for a quick walk down a quieter stretch of the avenue away from the crowds, getting his famous shot of them ambling along chatting. "You can see the happiness in it," he says. The same was true of his classic picture of Seberg kissing Belmondo on the cheek. "That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building. You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds. -- Angelique Chrisafis The Guardian, June 3, 2015 Cauchetier's skill sethe was both a high-wire documentarian and, in effect, a director of fictionsuniquely qualified him to share in the multifarious spirit of the New Wave. -- Richard Brody The New Yorker, June 1, 2015 ...his on-set photographs...helped not only document, but define a dazzlingly stylish and technically revolutionary movement... -- Marley Brown Vanity Fair, June 3, 2015 [Cauchetier] spent the Sixties taking photographs that revealed the radical methods of cinema's avant-garde and documenting some of the most enduring moments ever seen on the silver screen. -- Peter Yeung The Telegraph, June 18, 2015 But no survivor of the Nouvelle Vague" has the longevity of its best known photographe de plateau" (set still photographer) Raymond Cauchetier. -- John's Bailiwick American Society of Cinematographers, July 6, 2015