The history of cinema will never accommodate Carole Roussopoulos. She was a pioneer in too many respects, too much excess is always frowned upon – there’s space for only so many pages, books and conferences, right? Who asked her to be that productive? Things are a bit different in regards to Delphine Seyrig, however. She is the face of an entire era of arthouse cinema – the ‘60s, ‘70s and ‘80s; she was Jeanne Dielman and Anne-Marie Stretter, one of Buñuel’s bourgeois, the protagonist of Marienbad. And a notoriously fierce feminist, but just how fierce was she?

Călin Boto

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Film curator, writer and editor, member of the selection committees of BIEFF and Woche der Kritik, FIPRESCI member and alumnus of the film criticism workshops organized by the Sarajevo, Warsaw and Locarno film festivals. Teaches a course on film criticism and analysis at UNATC. He has curated programs for Cinemateca Română, Short Waves, V-F-X Ljubljana, Trieste Film Festival, as well as the Bucharest retrospective of Il Cinema Ritrovato on Tour in 2024 and 2025.

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