Jacques Levy

En véritable alchimiste, Martin Scorsese mélange les mythes et la réalité pour évoquer la tournée Rolling Thunder Revue de Bob Dylan, dans l'Amérique en mutation de 1975.

Parce qu'elle surprend par hasard les confidences dramatiques d'une jeune femme, Hope, avec son psychiatre, Marion, intellectuelle de 50 ans, à la vie réglée comme papier à musique, va tout remettre en question.

Based on the controversial off-Broadway musical comedy revue, "Oh! Calcutta!" is a series of musical numbers about sex and sexual mores. Most of the skits feature one or more performers in a state of undress, simulating sex, or both. The show sparked considerable controversy at the time because it featured extended scenes of total nudity, both male and female. The title is taken from a painting by Clovis Trouille, itself a pun on "O quel cul t'as!" French for "What an arse you have!".

Filmed in the autumn of 1975 prior to and during Bob Dylan's Rolling Thunder Revue tour – featuring appearances and performances by Ronee Blakley, T-Bone Burnett, Jack Elliott, Allen Ginsberg, Arlo Guthrie, Ronnie Hawkins, Roger McGuinn, Joni Mitchell, Mick Ronson, Arlen Roth, Phil Ochs, Sam Shepard, and Harry Dean Stanton – the film incorporates three distinct film genres: concert footage, documentary interviews, and dramatic fictional vignettes reflective of Dylan's song lyrics and life.

Based on the controversial off-Broadway musical comedy revue, "Oh! Calcutta!" is a series of musical numbers about sex and sexual mores. Most of the skits feature one or more performers in a state of undress, simulating sex, or both. The show sparked considerable controversy at the time because it featured extended scenes of total nudity, both male and female. The title is taken from a painting by Clovis Trouille, itself a pun on "O quel cul t'as!" French for "What an arse you have!".

From the fall of 1975 to the summer of 1976, Bob Dylan took a happy gaggle of musicians out on a two-leg tour dubbed the Rolling Thunder Review. Live at Fort Collins, Colorado

Portabella’s first feature, co-scripted by poet Joan Brossa, became one of the most influential works of the Barcelona avant-garde, although like all his early films, it circulated only in an underground fashion. Eschewing dialogue, the director constructs a non-narrative story in fragments that reveal the daily lives of an adulterous couple interspersed with a cryptic stream of unrelated imagery. The title of this homage to directors including Eisenstein, Antonioni, Bergman, and Buñuel refers to the 29 “black years” of the Franco dictatorship. — chicago.cervantes.es