“The title came to me from Samuel Beckett’s book on Proust, in which he recalls that a new form of advertising appeared post-war, one that not only imposes a product, but also the time of day it has to be consumed: “Midday, seven o’clock: time for a Berger.” I knew this advert but it was on rereading this passage that I realised how similar it was to the shot where I’m alone drinking a [glass of] Berger, with the label clearly visible, and where the church bells are striking seven o’clock. Berger pastis is, of course, completely associated with Jean [Lambert], with our get-togethers, our weekly aperitifs. L’Heure du Berger is the recreation of Maniquerville. They were both made at the same time. In addition to Jean’s insistent “return” to his house, as his ghost inviting me to make this film, it is perhaps the heaviness of shooting Maniquerville that led me to make this film using such a light and intuitive touch.”
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Bangkok no Limite: Entre o Inferno e o Paraíso“The title came to me from Samuel Beckett’s book on Proust, in which he recalls that a new form of advertising appeared post-war, one that not only imposes a product, but also the time of day it has to be consumed: “Midday, seven o’clock: time for a Berger.” I knew this advert but it was on rereading this passage that I realised how similar it was to the shot where I’m alone drinking a [glass of] Berger, with the label clearly visible, and where the church bells are striking seven o’clock. Berger pastis is, of course, completely associated with Jean [Lambert], with our get-togethers, our weekly aperitifs. L’Heure du Berger is the recreation of Maniquerville. They were both made at the same time. In addition to Jean’s insistent “return” to his house, as his ghost inviting me to make this film, it is perhaps the heaviness of shooting Maniquerville that led me to make this film using such a light and intuitive touch.”
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