L’Année dernière à Marienbad (“Last Year At Marienbad”) - French release poster. Directed by Alain Resnais, 1961.
Jeanne Moreau on the cover of Sight and Sound (the cinema magazine published by the British Film Institute), 1967. A scene from “The Bride Wore Black” (La Mariée était en noir) directed by François Truffaut.
Haydée Politoff in La Collectionneuse, 1967. Directed by Eric Rohmer. La Collectionneuse is the fourth film of Rohmer’s “Six Moral Tales”.
Haydée Politoff in La Collectionneuse, 1967. Directed by Eric Rohmer. La Collectionneuse is the fourth film of Rohmer’s “Six Moral Tales”.
Photo by Raymond Cauchetier.
Jean Seberg on the set of Jean-Luc Godard’s À bout de souffle (Breathless), 1960.
“Aspiring filmmakers should look at and discuss Cauchetier’s photos because they are an important reminder that making films is a process full of possibilities.”
A fantastic article highlighting the development of Cauchetier’s photography, with insightful commentary on many of his new wave production photographs.
I’ve just realized Raymond Cauchetier is the photographer responsible for so many of the amazing new wave production photographs that exist… It all started when Cauchetier was introducted to Jean-Luc Godard while Godard was still working at Cahiers du Cinema. Godard eventually hired him to be the production photographer on the set of his first film, Breathless. Cauchetier was never professionally trained, but developed his near-perfect sense of timing while doing some aerial combat photography while in the French Air Force. He was hired as the set photographer for a number of new wave films, creating images as iconic as the films themselves.
Aurora Cornu and Laurence de Monaghan in Le genou de Claire (Claire’s Knee), 1970. Directed by Eric Rohmer.
Laurence de Monaghan and Jean-Claude Brialy in Le genou de Claire (Claire’s Knee), 1970. Directed by Eric Rohmer.

