The Louvre welcomes in its cinema the idyll of Goya and Jean-Claude Carrière

Maria D. Valderrama

Paris, 13 sep. “Goya, the listening eye”, the documentary by José Luis López-Linares that reviews the artist’s work by the famous French screenwriter Jean-Claude Carrière, was previewed this Tuesday in France at the Louvre Museum, in an act which was attended by actors such as Carole Bouquet and Louis Garrel.

The screening was carried out thanks to the society of Friends of the Louvre, collaborators of the film, which was premiered in May at the 75th edition of the Cannes Film Festival before its arrival in theaters in more than twenty countries in the coming months.

The project was hatched before the pandemic and after the success in France of López-Linares’s documentary on El Bosco, which was seen by more than 100,000 people in theaters, motivating the producers to seek a new collaboration with the director of ” An instant in life” and “Spain, the first globalization”, among others.

“We approached Jean-Claude (Carrière) to do the script but he didn’t want to. Instead, he offered to take part in the film, which seemed much better to us. We started shooting with him traveling through the emblematic places of Goya in Spain, but the focus changed when Jean-Claude died,” López-Linares told EFE.

For the filmmaker, historical collaborator of directors such as Fernando Trueba, Víctor Erice or Carlos Saura, and winner of two Goya awards, this documentary is not only an opportunity to discover the work of the painter from his deaf condition, which for specialists he sharpened his gaze on the society around him.

It is also the opportunity to make others discover Goya and the deep knowledge that Carrière (who died in 2021 at the age of 89), a close collaborator of Luis Buñuel, had of Spain.

“Carrière stood in front of each painting and began to improvise. It was fantastic, you could see thoughts and memories almost spring up as he was speaking. He had that wonderful way of expressing himself and a prodigious memory,” quotes López-Linares, whose film will be released in Spain in the Seminci of Valladolid.

The premiere in Paris was attended, among others, by the producers of the film, Antonio Saura and Ruth Gabriel, Carrière’s widow, the writer Nahal Tajajod, the directors Jean Paul Rappenau and Amos Gitai and the writer Atiq Rahimi, winner of the Goncourt Prize in 2008, as well as by Garrel and Bouquet, star of “That Obscure Object of Desire”, directed by Buñuel with a script by Carrière.


“Despite what we think, Goya is much less known in France than in Spain. In Spain he is a god, here he is a great painter, but if you ask someone on the street who Goya is, he knows the majas and on May 3, nothing more, ”Stéphane Sorlat, French co-producer of the film, told EFE.

For Sorlat, the relevance of this co-production is to bring Goya closer to the French public, in addition to having the collaboration of “the most important screenwriter in French cinema”, creator of seven films together with Buñuel, a great connoisseur of Spain, screenwriter of “The Ghosts of Goya” with Milos Forman, to talk about the master painter, but also about his memories “and about us”.

“He talks about the war, about the emigrants, about the little people in front of the great ones of the court. That’s why this movie is so topical,” she added.

From Fuendetodos, Goya’s hometown, through the Prado Museum in Madrid, the ruined town of Belchite, and to Bordeaux, where Goya died in exile.

“The world is made of people who are not at home,” says a nostalgic Carrière in the documentary, also recalling the exile that Forman, Buñuel and his own wife, of Iranian origin, also went through.

Luis Buñuel’s grandson, Diego Buñuel, current director of programs for France Télévisions, was also excited at the premiere, saying he was “delighted to rediscover Goya through the eyes of Jean-Claude”.

“It is formidable to see how the destiny of these three men (Goya, Buñuel and Carrière) intertwine in life, work and death,” Buñuel told EFE, who, accompanied by his young children, pointed out that he has to take them “for them to know the drums of Calanda”.