The Straub-Huillet Collection

France / 1962-2016 / NR

Film has never seen a collaboration like that between Jean-Marie Straub and Danièle Huillet, a fiercely intellectual husband-wife duo whose decades-spanning oeuvre aimed to spark a revolution among the masses. Hailed by critics, academics, and filmmakers alike, Straub-Huillet’s collection is at once among cinema’s most pluralistic — spanning shorts and features, documentaries and fiction, contemporary stories and period pieces — and most rigorous, forged by an ascetic and intellectually demanding style. It contains adaptations of Kafka and Brecht, homages to D.W. Griffith, Renoir, and Bresson, and treatises on political matters both current and eternal. Encompassing nearly 50 titles — including works that have largely remained unavailable for decades, and many never before released in the U.S — their entire catalog is now proudly presented by Grasshopper Film.

→ See Jean-Marie Straub’s ten favorite films.

→ Browse the entire Straub-Huillet collection.

→ Host a screening of a Straub-Huillet film.

 

  • Director

    Jean-Marie Straub Danièle Huillet

  • "Straub-Huillet are cinema’s conscience — an antidote to all the junk movies you’ve ever seen."

    — J. Hoberman, The New York Times

  • "One of the most intense, challenging and controversial collaborations in the history of cinema."

    — Joshua Siegel, Museum of Modern Art

  • "No one seriously interested in film should neglect them or the theoretical issues that attend them."

    — David Thomson, The New Biographical Dictionary of Film

  • "Godard seemed very old to me, suddenly, when I saw the films of Straub. They were the fastest, the furiousest, the most beautiful, sensual, ancient, modern."

    — Pedro Costa

  • "A cinema of exhilaration. They are the only films I know in which you can feel the force of gravity."

    — Thom Andersen, director of Los Angeles Plays Itself

  • "[Responsible] for some of the most forceful and lucid cinematic achievements of the past half-century."

    — Ricky D'Ambrose, The Nation

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