In girum imus nocte et consumimur igni (1978)

User Rating:

8.9/10   

Director:

Guy Debord

Writer:

Guy Debord (writer)

Release Date:

March 1978 (France)

Genre:

Documentary

Plot Keywords:

Italy | Experimental Film | Paris France | Situationism | Semi Autobiographical

Directed by
Guy Debord

Writing credits (in alphabetical order)
Guy Debord		writer

Original Music by
François Couperin
Benny Golson

Cinematography by
André Mrugalski

Film Editing by
Stéphanie Granel

Second Unit Director or Assistant Director
Elisabeth Gruet	....	assistant director
Jean-Jacques Raspaud	....	assistant director

Sound Department
Dominique Dalmasso	....	sound mixer
Dominique Dalmasso	....	sound
Jérôme Lévy	....	foley artist

Camera and Electrical Department
Richard Copans	....	assistant camera
Bernard Largemain	....	grip

Editorial Department
Christine Noël	....	assistant editor

Other crew
Joëlle Barjolin	....	documentalist

Production Companies

• Simar Films

Distributors

• Bodega Films (2005) (France) (theatrical) (re-release)
• Société des Etablissements L. Gaumont

Also Known As:

We Spin Around the Night Consumed by the Fire (International: English title) (literal title)

Runtime:

100 min

Country:

France

Language:

French

Color:

Black and White

Sound Mix:

Mono

Company:

Simar Films

Trivia:

The title of the movie is a palindrome known as "the Devil's verse." It is Latin for "Gyrating, we go into the night and are consumed by fire."

Movie Connections:

Features The Third Man (1949)

go see it, it's fun

A must seen. Debord's anti cinema statement might be considered repellent in his first film (when it is extremist innovation); but in this one, the use of stills upon which the discourse progresses from the evocation of the mechanisms of the society of the spectacle, the alienation by consumption, the oppression of modern society to the deception of imbecile propaganda cinema, transmitting falsehood, to considerations about Paris, the loss of its true spirit and about himself, Guy Debord, is not only an illustration of détournement. It is a beautiful work in which the relation between the image and the narration is incessantly questioned; the two expressions interfere enigmatically, in a secret game of analogies, they collide, complete each others, combine to produce a third element that a linear use of cinematic images produced for the narration would fail to achieve. Not only the political content is pretty up to date but it is simply a beautiful work of modern visual poetry.