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&ldquo;I like cinema, I don&rsquo;t like cinephilia. I don&rsquo;t care so much about films, I care about cinema in terms of place, this place where you can see,&rdquo; French filmmaker&nbsp;Leos Carax once told me. &ldquo; It may be arrogant but I do believe that I live in this island; it&rsquo;s worth living there.&rdquo; And as one of the most brilliant filmmakers our of time, Carax&rsquo;s brand of poetic cinema has been gracing our screens since the early 1980s, showing us the complexities of love and human connection in an ever-changing world.
Alongside releasing his debut film&nbsp;Boys Meets Girl, Carax spent time as observing cinema as a film critic, devouring the art of film and impressing that into his mature vision and fascinating aesthetic. &ldquo;I started making films at the same time I discovered film, which rarely happens. Usually it&rsquo;s two different times in your life. I don&rsquo;t know if that&rsquo;s good or bad but that&rsquo;s how it happened,&rdquo; he said. &ldquo;So I watched a lot of films from age 16 to 24, a lot of silent films, Hollywood films obviously, and New Wave films but I think I stopped watching films at the time of my second film. I felt I&rsquo;d paid my depth of love for the cinema.&rdquo; And in that early time in his career, he established relationships with the geniuses that would go on to help establish his cinematic presence, with actors like the incomparable Denis Lavant and Juliette Binoche as well as cinematographer Jean-Yves Escoffier.
From there he would go on to make a series of ecstatic and challenging films from&nbsp;Mauvais Sang&nbsp;and&nbsp;The Lovers on the Bridge, to&nbsp;Pola X&nbsp;and short films such as &ldquo;Merde&rdquo; and 