Cézanne's landscapes. As he describes in A Moveable Feast, I was "learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them." Cézanne's painting The Boy in the Red Vest was stolen from a Swiss museum in 2008. It was recovered in a Serbian police raid in 2012. Films about Cézanne Une visite au Louvre, 2004. Filmed and directed by Jean-Marie Straub and Danièle Huillet about Cézanne, based on the posthumously published conversations with the painter, handed down by his admirer Joachim Gasquet. The film describes a walk by Cézanne in the Louvre past the paintings of his fellow artists. On the 100th anniversary of Cézanne's death in 2006, two documentaries from 1995 and 2000 about Paul Cézanne and his motif La Montagne Sainte-Victoire were re-released. Cézanne's triumph was re-shot for the 2006 anniversary year. The Violence of the Motive, 1995. A film directed by Alain Jaubert. A mountain near his hometown of Aix-en-Provence becomes Cézanne's main motif. He shows La Montagne Sainte-Victoire from different perspectives and at different times of the year more than 80 times. The motif becomes an obsession that Jaubert gets to the bottom of in his film. Cézanne – the Painter, 2000. A film by Elisabeth Kapnist. The story of a passion and a lifelong artistic search: the painter Cézanne, his childhood, his friendship with Zola and his encounter with Impressionism are portrayed. The Triumph of Cézanne, 2006. A film by Jacques Deschamps. Deschamps takes the 100th anniversary of Cézanne's death in October 2006 as an opportunity to trace the genesis of a legend. Cézanne encountered rejection and incomprehension before he was allowed to rise to the Olympus of art history and the international art market. The 2016 film Cézanne and I explores the friendship between the artist and Émile Zola. Cézanne and philosophy The French philosopher Jean-François Lyotard argues in his work Misère de la philosophie, that Cézanne has, so to speak, the sixth sense: he senses the reality in the making before it is completed in normal perception. So the painter touches on the sublime when he sees the overwhelming quality of the mountainous landscape, which can neither be represented with normal language nor with the usual painting technique. Lyotard sums it up: "One can also say that the uncanniness of the oil