This essay offers a commentary on the French experimental director Philippe Grandrieux's shooting diary for his film Malgré la nuit (2016). Grandrieux's quotations from Maurice Blanchot and the diary's appearance in the journals Trafic and Mettray activate intertextual references relating to Blanchot's ideas about fascination and inspiration. The essay argues that Grandrieux and film theorist Raymond Bellour are contemporary inheritors of these notions, which they develop in relation to filmmaking practice, cinema spectatorship, and film analysis. Through their work, fascination, often associated with passivity, can be seen to actively inspire new works.

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