NICO, 1988
2018, Magnolia Pictures, 93 min, Italy/Belgium, Dir: Susanna Nicchiarelli

This riveting late-career biopic features a tour de force performance by Trine Dyrholm as famed singer-songwriter Nico, who approaches 50 leading a solitary existence in Manchester, England, far from her glory days as a Warhol superstar and celebrated vocalist for The Velvet Underground. Her life and career on the ropes, Nico is convinced by her new manager, Richard (John Gordon Sinclair), to hit the road again and tour Europe to promote her latest album. Struggling with her demons and the consequences of years of addiction, she longs to rebuild a relationship with the son (Sandor Funtek) whose custody she lost long ago. A brave and uncompromising musician, Nico’s is the story of an artist, a mother and the woman behind the icon. “Dyrholm’s performance is a powerhouse of authenticity. Her moroseness is mesmerizing, but she also gives Nico a tense intelligence, and her singing is uncanny.” - Owen Gleiberman, Variety.


THE INNER SCAR
LA CICATRICE INTERIEURE
1972, The Film Desk, 60 min, France, Dir: Philippe Garrel

Perhaps the most striking of several collaborations between Philippe Garrel and singer-songwriter Nico (the director’s longtime lover and muse), this experimental travelogue was shot in such disparate locations as Death Valley and Iceland, and is filled with stark, dreamlike imagery. As well as appearing onscreen, Nico supplied the music to the film, much of which would appear on her "Desertshore" album.


I CAN NO LONGER HEAR THE GUITAR
J’ENTENDS, PLUS LA GUITARE
1991, The Film Desk, 98 min, France, Dir: Philippe Garrel

A Silver Lion winner at the 1991 Venice Film Festival, this semi-autobiographical drama is a haunting tribute to Philippe Garrel’s 10-year relationship with iconic German performer Nico. Here the central couple Marianne (Johanna ter Steege) and Gérard (Benoît Régent) drift together and apart through a self-destructive heroin haze. “Holding tight to his characters with long takes and close-ups, capturing them only at the breaking points in their lives, Garrel balances a hypnotic romanticism with the frightening lurch of unsteady emotions.” - Richard Brody, The New Yorker.


Syndicate content