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Encyclopedia of French Film Directors

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QUENTIN, FLORENCE (September 5, 1946,<br />

Bort-les-Orgues, Corrèze, France–)<br />

A former assistant fi lm director (1983 A nos Amours<br />

/ UK and USA: To Our Loves, Maurice Pialat; 1984<br />

Sauvage et Beau / UK and USA: Wild and Beautiful,<br />

documentary, Frédéric Rossif), she became a successful<br />

screenwriter thanks to her collaboration<br />

with Etienne Chatiliez (1988 La Vie est un long Fleuve<br />

tranquille / UK and USA: Life Is a Long Quiet River; 1990<br />

Tatie Danielle; 1995 Le Bonheur est dans le Pré / USA:<br />

Happiness Is in the Field). She wrote or co-wrote a<br />

couple <strong>of</strong> movies (1992 La Fille de l’Air, Maroun Bagdadi;<br />

1997 XXL, Ariel Zeïtoun; 1998 Que la Lumière<br />

soit! / USA: Let There Be Light, Arthur J<strong>of</strong>fé) before<br />

making her feature directing debut.<br />

<strong>Film</strong>ography<br />

2001 J’ai faim!!! (also screenwriter, dialogist)<br />

2005 Olé! (also co-screenwriter)<br />

2008 Leur Morale . . . et la nôtre (also co-screenwriter,<br />

co-dialogist)<br />

QUESTERBERT, MARIE-CHRISTINE (1955,<br />

Paris, France–)<br />

After studying philosophy and graduating with a doctorate<br />

with a cinema option (her thesis was titled<br />

“Sens et Technique: Les Mouvements de Caméra<br />

dans le ‘Vampyr’ de Carl Dreyer”), she attended Jean<br />

Rouch’s cinema courses at the Musée de l’Homme. In<br />

1970, Luc Moullet <strong>of</strong>fered her the female lead in Une<br />

Aventure de Billy le Kid / USA: A Girl Is a Gun, in which<br />

she co-starred under the pseudonym <strong>of</strong> Rachel Kesterber,<br />

and fi ve years later she played the main character<br />

in another movie directed by the same fi lmmaker<br />

(1976 Anatomie d’un Rapport). Deeply interested in<br />

Q<br />

845<br />

underground fi lms, she got into writing and published<br />

articles on photography and experimental cinema for<br />

the Centre Pompidou review (Sauf Mardi). She also<br />

collaborated on Les Cahiers du Cinéma (1979–1982)<br />

and wrote on contemporary painting in a Japanese<br />

review (1985–1986). Her book Les Scénaristes italiens—50<br />

Ans d’Ecriture pour l’Ecran (Editions Hatier,<br />

1988) is the result <strong>of</strong> her meetings with the greatest<br />

Italian screenwriters. In addition to the movies mentioned<br />

here, she appeared as an actress in about ten<br />

movies (1972 Le Dernier Tango à paris / L’ultimo tango<br />

a Parigi / UK and USA: Last Tango in Paris, as Rachel<br />

Kesterber, Bernardo Bertolucci, France / Italy; 1973<br />

What a Flash!, as Rachel Kesterber, Jean-Michel Barjol;<br />

1981 Ma Première Brasse, short, Luc Moullet; 1992<br />

Border Line, Danièle Dubroux; 1994 Grande Petite,<br />

Sophie Fillières; 1996 Le Journal du Séducteur, Danièle<br />

Dubroux; Encore, Pascal Bonitzer; 2006 Le Prestige de<br />

la Mort, Luc Moullet). Her brother, Hugues Quester<br />

(b. 1948), is a stage and fi lm actor.<br />

<strong>Film</strong>ography<br />

1970 Buy Me, Sell Me (documentary; short)<br />

1972 Denatura (short)<br />

1973 Seventies (documentary; short)<br />

1974 L’Interminable Chevauchée (short; also screenwriter;<br />

shot in 1972)<br />

1982 Die Erbtöchter / Les Filles héréditaires (segment<br />

“Dérapage”; West Germany / France)<br />

1986 Cremonini (documentary; short)<br />

2000 La Chambre obscure (also co-screenwriter;<br />

France / Luxembourg / Italy)<br />

2004 Le Jeu de la Simulation (short)<br />

Television <strong>Film</strong>ography<br />

2002 Femme séduisante et anticonformiste (documentary;<br />

short; shot in 1999–2001)

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