“This is the tale of the strange adventures of the young Allan Gray, who immersed himself in the study of devil worship and vampires. Preoccupied with superstitions of centuries past, he became a dreamer for whom the line between the real and the supernatural became blurred. His aimless wanderings led him late one evening to a secluded inn by the river in a village called Courtempierre.”

– title card

Considered one of the earliest positive cinematic depictions of (male) homosexuality, Carl Theodor Dreyer's Michael tells the story of lonely artist Zoret (director Benjamin Christensen), his bright young muse and model Michael (Walter Slezak), and the more mature art critic Switt (Robert Garrison). Though it's mostly suggested – there's a female temptress (Nora Gregor) assuming a heterosexual perspective – its motif of the spoken and unspoken relationship between the men is definitely one of love, much in the same way Charles Vidor's Gilda (1946) is.

“Now I may die content, for I have seen great love.”

– opening title card

Michael is the second book adaption of Herman Bang's Mikaël (1902) after Vingarne [The Wings] (Mauritz Stiller, 1916).

A fascinating overlap with The Savage Eye (1959), a film #Godard must have been familiar with in 1962.

“Maybe I'll get into the movies.”

– Nana