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Out 1, also referred to as Out 1: Noli Me Tangere, is a 1971 French mystery film written and directed by Jacques Rivette and Suzanne Schiffman. It is indebted to Honoré de Balzac's La Comédie humaine, particularly the History of the Thirteen collection (1833–35).
Out 1: Directed by Jacques Rivette, Suzanne Schiffman. With Michèle Moretti, Hermine Karagheuz, Karen Puig, Pierre Baillot. Following the May 1968 civil unrest in France, a deaf-mute and a con artist simultaneously stumble upon the remnants of a secret society.
Out 1, a film by Jean Rivette (1971) Alternate titles include Out 1: Noli me tangere and Out 1: Spectre
Nov 3, 2015 · Jean-Pierre Léaud and Bernadette LaFont in “Out 1: Noli Me Tangere,” a 1971 film directed by Jacques Rivette. The eight-episode feature is beginning a two-week engagement. Credit...
Nov 12, 2015 · Sometimes known as Out 1: Noli Me Tangere (although the subtitle never appears in the credits), this is an eight-episode, 773-minute fiction film; it was originally intended as a TV serial, but was turned down by French broadcaster ORTF.
Nov 5, 2015 · In other words, this is the most thoroughly and authentically paranoid movie ever made, its overtones of conspiracy and cryptic meaning so pronounced that they extend the borders of fiction out...
Nov 4, 2015 · 12 h 9 m. Summary Paris, April 13th 1970. Two theater groups each rehearse avant-garde adaptations of plays by Aeschylus. A young deaf-mute begs for change in cafés while playing the harmonica. A young woman seduces men in order to rob them. As a conspiracy develops, the protagonists’ stories start to intertwine. Drama. Mystery.
Dec 2, 2006 · Out 1 is an extended anthropological discourse, a dissection of the dashed dreams and hopes of a counterculture destroying itself from within due to a misunderstood threat from without.
Out 1. Summaries. Following the May 1968 civil unrest in France, a deaf-mute and a con artist simultaneously stumble upon the remnants of a secret society.
Out 1 has been described as “a sprawling giant of a film” (James Monaco), as “an enriching and timeless reference” (cinematographer Pierre-William Glenn), and as “a film that nobody can see” (Michael Lonsdale).
