DOCSLIB.ORG

The Films of Claire Denis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Films of Claire Denis UNDER THE SKIN: THE FILMS OF CLAIRE DENIS Beau travail, March 25, April 1 Chocolat, March 4 Photo courtesy New Yorker Films nowhere, where he’s been for a number of years. Wings of Desire). Denis doesn’t flinch in depicting The work of Claire Denis begins with what FRIDAY MARch 4 Travis tentatively reunites with his young son, brutality, toward either the cocks or their keepers. she calls “tactile intuition.” Her films feel 7:00 White Material Hunter, and together they hit the road in search of “Men, cocks: same thing,” says Dah; for both, life is their way through charged situations and Claire Denis (France, 2009) the boy’s mother; the dream of making the family a fight that can end only one way.—Juliet Clark complex relationships—cultural, familial, whole again finds its nightmare edge when Mom • Written by Denis, Jean-Pol Fargeau. Photographed by Denis’s latest film returns to the West African set- sexual—by attending to the textures and (Nastassja Kinski) is found working in a peep show. Agnès Godard. With Isaach de Bankolé, Alex Descas, Solveig ting of her first, Chocolat, but replaces the restraint Still, Travis persists, reaching her on her own terms: Dommartin, Christopher Buchholz. (91 mins, In French with rhythms of the physical world and to the of that period piece with an apocalyptic vision of the through glass. Robby Müller’s cinematography pur- English subtitles, Color, 35mm, From Pathé) ways that people move through it. This is postcolonial present. Isabelle Huppert brings char- sues a fantasy of the American West in capturing a corporeal cinema: Denis once asserted, acteristic clenched ferocity to the role of Maria Vial, its more bizarre reality, much as Travis and Hunter FRIDAY MARch 25 “capturing bodies on film is the only thing the proprietor of a coffee plantation in an unnamed pursue a fantasy of the American family amid the 7:00 Nénette and Boni that interests me.” country that is collapsing into civil war. Delusionally choked violence of the one they have.—Judy Bloch resolute in her attachment to her African home, Claire Denis (France, 1996) Born in Paris in 1948, Denis spent her child- • Written by Sam Shepard. Adapted by L. M. Kit Carson. Maria refuses to join other white residents who (Nénette et Boni). Abandoned by their father and hood in various African nations where her Photographed by Robby Müller. With Harry Dean Stanton, are fleeing to France. “Dirty whites . they don’t Nastassja Kinski, Dean Stockwell, Aurore Clement. (145 bereft of their mother who recently died, nineteen- father was a French colonial functionary. deserve this beautiful land,” she says; but who mins, Color, 35mm, From Janus Films/Criterion Collection) year-old Boni (Grégoire Colin) and his younger Several of her most acclaimed films, from does deserve it? The child soldiers swarming around sister Nénette (Alice Houri) are barely on speaking her debut feature Chocolat to Beau travail the rebel known as the Boxer (Isaach de Bankolé)? SUNDAY MARch 6 terms, with life or with each other. Boni, a pizza- and the recent White Material, are set in Or Maria’s own son, who awakens from privileged maker in his better moments, has turned his moth- 3:00 I Can’t Sleep Africa, and a concern with colonialism and lassitude into a delirious racial fury? Shuffling anx- er’s Marseilles apartment into a space for sexual Claire Denis (France/Switzerland, 1994) its aftereffects runs through much of her iously beautiful images into a fragmented flashback fantasy—in fine French film form, he lusts after the work. But her approach to this and other structure, Denis suggests a vivid but unstable real- (J’ai pas sommeil). Denis’s dispassionate approach baker’s wife, buns and all, a woman whose good- ity, as though in Maria’s ruptured world, not only subjects is less political or even psychologi- to a Parisian murder-noir makes Claude Chabrol natured sensuality is the polar opposite of his own. times but time itself had changed.—Juliet Clark look like an emotional wreck. Daïga (Katerina When Nénette runs away from boarding school, cal than emotional and experiential; expo- • Written by Denis, Marie N’Diaye. Photographed by Yves Golubeva), having arrived from Lithuania with seven months pregnant, the siblings circle around sition is pared away, leaving impressions Cape. With Isabelle Huppert, Nicolas Duvauchelle, Isaach de minimal French and had her hopes for a theatrical each other like wary strays. As James Quandt put whose full meaning emerges only with the Bankolé, William Nadylam. (102 mins, In French with English career quickly dashed, works as a chambermaid in it, “Les enfants terribles [are] faced with the ter- subtitles, Color, 35mm, From IFC Films) passage of time. a small hotel near Sacré Coeur. Camille (Richard rifying prospect of becoming les parents terribles.” Courcet), a black transvestite, carries on his affairs Nénette and Boni Beau travail Denis served a long apprenticeship before 9:00 Chocolat anticipates in its pal- under the mothering eye of the hotel owner, while ette of blinding white sunlight and striking blues. It directing her own films, beginning as an Claire Denis (France/W. Germany, 1988) elsewhere in the quartier, Camille’s brother Théo may be the Mediterranean, but as the song says, assistant on Dušan Makavejev’s Sweet BAM/PFA Student Committee Pick (Alex Descas), a jazz musician, has given up on “tiny tears make up an ocean.”—Judy Bloch Movie (1974) and later working as an Paris and threatens to return to Martinique with assistant director to Jim Jarmusch and Wim For her first film, Denis re-created two lost worlds: • Written by Denis, Jean-Pol Fargeau. Photographed by colonial Cameroon in the 1950s, and the familiar his child. With a thriving gay underground and a Agnès Godard. With Grégoire Colin, Alice Houri, Valeria Bruni- Wenders. This retrospective includes her Tedeschi, Vincent Gallo. (103 mins, In French with English yet foreign territory of childhood. Framed as the rec- burgeoning immigrant population, the eighteenth films with those two directors, as well as subtitles, Color, 35mm, From Strand Releasing) ollections of a grown woman, Chocolat draws on the arrondissement is also home to many old ladies the fruits of her long collaborations with cin- who have lived there for ages. Everyone wonders director’s own early years, and it has all the sensory 9:00 ematographer Agnès Godard, writer Jean- who is killing and robbing them as they come home Beau travail acuity and strangeness of memory. The point-of-view Claire Denis (France, 1999) Pol Fargeau, and actor Alex Descas (whom character, pointedly named France, is the daughter with their groceries—everyone but Camille and his Good Work she has described as her “muse”). Here is of a colonial officer at a remote outpost; her clos- lover. Based on the “Granny Killer” case of 1987, ( ). A story of French Legionnaires isolat- a chance to experience a body of work that est companion is Protée (Isaach de Bankolé), the Denis’s film opens up more riddles than it solves, ed in a blisteringly beautiful African setting (Djibouti Beau travail both exerts and rewards alert observation. household’s black “boy,” who serves not only as mysteries of intention and desire.—Judy Bloch and surrounds), evokes Camus’s The Stranger Billy helper and protector but also as a vector for the • Written by Denis, Jean-Pol Fargeau. Photographed by Agnès as much as it does Melville’s Juliet Clark Godard. With Katerina Golubeva, Richard Courcet, Vincent Budd white characters’ various desires and delusions. The , on which it is abstractly based. This is the C ONTRI B U T I N G F I L M N O T E S W RITER Dupont, Alex Descas. (110 mins, In French and Russian Legion of the 1990s, superfluous to anything but film’s quiet beauty, in thrall to the landscape, could with English subtitles, Color, 35mm, permission Pyramide suggest a current of nostalgia, but Denis carefully International) its almost spiritual rituals of loyalty and rigor. The complicates matters. The ending executes a grace- rigor is played out in dancelike exercises and in ful shift in perspective, reminding us that France is simple activities like the pressing of a uniform into SUNDAY MARch 20 elegant creases. But loyalty, as in Melville, is a SEriES CUraTED BY SUsaN OXTOBY. PFA wishES TO not the center of the universe.—Juliet Clark 3:00 No Fear, No Die complex of suppressed eroticism and violence, as ThaNK THE FOllOwiNG INDIVIDUals AND INSTITUTIONS • Written by Denis, Jean-Pol Fargeau. Photographed by Agnès Godard. With Isaach de Bankolé, Giulia Boschi, François Claire Denis (France, 1990) Sgt. Galoup (Denis Lavant) indulges a paranoid, FOR THEir assisTANCE wiTH This RETROspECTIVE: Harris irrational hatred for a beautiful young recruit, Cluzet, Jean-Claude Adelin. (105 mins, In French with English (S’en fout la mort). “All human beings, of whatever DEW, IFC CENTER, NEW YORK CITY; CULTUREsFraNCE, subtitles, Color, 35mm, From The Film Desk) Sentain (Grégoire Colin), who he imagines will kill race or nationality or religious belief or ideology, FrENch MINisTRY OF FOREIGN AFFairs, Paris; DElphiNE the commanding officer, Forester (Michel Subor). In will do anything and everything.” An epigraph from SEllES, FrENch CULTUral SERVicE, SAN FraNciscO; this film Denis effectively hypnotizes us, transform- SATURDAY MARch 5 Chester Himes sounds an appropriate note of pulp ing what is, after all, a detachment of unemployed JONAThaN HOWEll, NEW YORKER Films; Sarah FiNKLEA philosophy for this underworld allegory, a stark and 7:15 Paris, Texas boys who have fled France for a colonial nether- AND BriaN BELOVarac, JANUS Films; JAKE PErliN, gritty follow-up to the stately Chocolat.
Load more

Recommended publications
  • (POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
    ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr.
    [Show full text]
  • The Cutting Edge of French Cinema
    BACKWASH: THE CUTTING EDGE OF FRENCH CINEMA J’IRAI AU PARADIS CAR L’ENFER EST ICI , Xavier Durringer ( France, 1997 ) MA 6T VA CRACK-ER , Jean-Francois Richet ( France, 1997 ) LE PETIT VOLEUR , Érick Zonca ( France, 1998 ) L’HUMANITÉ , Bruno Dumont ( France, 1999 ) POLA X , Leos Carax ( France, 1999 ) RESSOURCES HUMAINES (Human Resources), Laurent Cantet ( France, 1999 ) À MA SOEUR! , Catherine Breillat ( France-Italy, 2000 ) PARIA , Nicolas Klotz ( France, 2000 ) SAINT-CYR , Patricia Mazuy ( France-Belgium, 2000 ) SELON MATTHIEU , Xavier Beauvois ( France, 2000 ) SOUS LE SABLE , François Ozon ( France-Belgium-Italy-Japan, 2000 ) ÊTRE ET AVOIR , Nicolas Philibert ( France, 2001 ) IRRÉVERSIBLE (Irreversible), Gaspar Noé ( France, 2001 ) LA CHATTE À DEUX TÊTES , Jacques Nolot ( France, 2001 ) LA VIE NOUVELLE , Philippe Grandrieux ( France, 2001 ) LE PACTE DES LOUPS , Christophe Gans ( France, 2001 ) LE STADE DE WIMBLEDON , Mathieu Amalric ( France, 2001 ) ROBERTO SUCCO , Cédric Kahn ( France-Switzerland, 2001 ) TROUBLE EVERY DAY , Claire Denis ( France-Japan, 2001 ) DANS MA PEAU , Marina De Van ( France, 2002 ) UN HOMME, UN VRAI , Jean-Marie Larrieu, Arnaud Larrieu ( France, 2002 ) CLEAN , Olivier Assayas ( France-UK-Canada, 2003 ) INNOCENCE , Lucile Hadzihalilovic ( France-UK-Belgium, 2003 ) L’ESQUIVE , Abdellatif Kechiche ( France, 2003 ) LE CONVOYEUR , Nicolas Boukhrief ( France, 2003 ) LES CORPS IMPATIENTS , Xavier Giannoli ( France, 2003 ) ROIS ET REINE , Arnaud Desplechin ( France-Belgium, 2003 ) TIRESIA , Bertrand Bonello ( France, 2003 ) DE BATTRE MON COEUR S’EST ARRÊTÉ (The Beat That My Heart Skipped), Jacques Audiard ( France, 2004 ) LES REVENANTS , Robin Campillo ( France, 2004 ) LES ANGES EXTERMINATEURS , Jean-Claude Brisseau ( France, 2005 ) VOICI VENU LE TEMPS , Alain Guiraudie ( France, 2005 ) À L’INTERIEUR , Alexandre Bustillo, Julien Maury ( France, 2006 ) AVIDA , Benoît Delépine, Gustave Kervern ( France, 2006 ) LES CHANSONS D’AMOUR , Christophe Honoré ( France, 2006 ) 24 MESURES , Jalil Lespert ( France-Canada, 2007 ) L’HISTOIRE DE RICHARD O.
    [Show full text]
  • Five by Claire Denis’
    FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE PRESENTS FILM SERIES ‘FIVE BY CLAIRE DENIS’ Retrospective includes preview screening of Bastards and new 35mm prints of Chocolat and Trouble Every Day October 13–22, 2013 Astoria, New York, October 9, 2013—Museum of the Moving Image will present five films by the French director Claire Denis, to coincide with the theatrical release of her latest feature, Bastards, which is being distributed by Sundance Selects. The Museum’s retrospective, running from October 13 through 22, will include four of Denis’s greatest films and concludes with a preview screening of Bastards. The series Five by Claire Denis opens with her best-known film Beau Travail (1999), an adaptation of Herman Melville’s Billy Budd, set amongst the French Foreign Legion in Djibouti, and starring Denis Lavant (Holy Motors) and Claire Denis regular Grégoire Colin. The films Chocolat (1988), Denis’s debut feature and semiautobiographical tale of a young girl growing up in 1950s Cameroon, and Trouble Every Day (2001), a vivid, sensuous, and gory take on horror starring Vincent Gallo and Beatrice Dalle, will be presented in brand new 35mm prints from Film Desk. The series also includes The Intruder (L’Intrus) (2004), a film of lush, mysterious images and textures, which follows an inscrutable older man (Michel Subor) as he searches the globe for his lost son (Colin). Bastards (Les salauds) (2013), which recently premiered at the New York Film Festival, is Denis’s first digitally shot film (by the great cinematographer and frequent Denis collaborator Agnes Godard), a contemporary film noir and savage revenge drama starring Vincent Lindon, Chiara Mastroianni, and Julie Bataille.
    [Show full text]
  • The Music of Relationality in the Cinema of Claire Denis
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Concert and disconcertion: the music of relationality in the cinema of Claire Denis https://eprints.bbk.ac.uk/id/eprint/40453/ Version: Full Version Citation: Brown, Geoffrey (2019) Concert and disconcertion: the music of relationality in the cinema of Claire Denis. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Concert and Disconcertion : the music of relationality in the cinema of Claire Denis Geoffrey Brown Thesis submitted for the degree of PhD in French 2019 Department of European Cultures and Languages Birkbeck, University of London 2 Declaration I declare that the work presented in this thesis is my own, and that this thesis is the one on which I expect to be examined. Geoffrey Brown 3 This thesis is dedicated to Agnès Calatayud, an inspirational teacher, who reconnected me to French cinema after a long carence, and who, crucially, first introduced me to the films of Claire Denis. 4 Abstract This thesis argues that the interest which the films of Claire Denis display in the ever-shifting modes of relations between people is illustrated through analysis of how music is used throughout her corpus of feature films. Denis draws on an extremely eclectic palette of musical styles, and the thesis proposes that these varying musical modalities are central to her treatment of relational issues, as are the ways in which she deploys her chosen musical selections.
    [Show full text]
  • Cannes 2001 Report
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Cannes 2001 Report By Ron Holloway Fall 2001 Issue of KINEMA CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d’Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to set the tone and style of the world’s mostrevered film festival. Apocalypse Now Redux In the case of Apocalypse Now -- aka Apocalypse Now Redux, to denote a new version of an old film -- Francis Ford Coppola returned to Cannes with the completed version of his work-in-progress presented here 22 years ago. No less than 53 minutes were added to the re-edited 203-minute version, in addition to a re-mastered Technicolor transfer and a re-mastered soundtrack.
    [Show full text]
  • Uk / 2018 / 1.66 / 5.1
    HIGH LIFE 110 min / Germany – France – USA – Poland – UK / 2018 / 1.66 / 5.1 EVA DIEDERIX [email protected] SILVIA SIMONUTTI [email protected] FANNY BEAUVILLE [email protected] OLPHA BEN SALAH [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM https://www.wildbunch.biz/movie/high-life/ Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Monte fathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners – death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination – the black hole in which time and space cease to exist. How did High Life come about? A while back, an English producer asked me if I wanted to participate in a collection of films called Femmes Fatales. At first, I wasn’t that interested, but after thinking it over, I agreed. The project took ages to get off the ground. There was no money. It took 6 or 7 years to hammer out a coproduction: France, Germany, Poland and eventually America. During that time, I went to England and the States to meet with actors. The actor I dreamed of for the lead role of Monte was Philip Seymour Hoffman, because of his age, his weariness – but he died mid- route.
    [Show full text]
  • BAM Presents Strange Desire: the Films of Claire Denis, Mar 29—Apr 9, the Largest-Ever US Retrospective Dedicated to the Celebrated French Filmmaker
    BAM presents Strange Desire: The Films of Claire Denis, Mar 29—Apr 9, the largest-ever US retrospective dedicated to the celebrated French filmmaker February 20, 2019/Brooklyn, NY—From Friday, March 29 through Tuesday, April 9, BAM presents Strange Desire: The Films of Claire Denis, the most extensive retrospective ever presented in the US dedicated to Denis, a filmmaker consistently counted among the greatest living directors by filmmakers and critics alike. Denis’ work is a delicate balance of contradictions: her films are beloved, yet elusive; influential, yet singular; grounded in corporeality, but with a shifting relationship with time. Born in France, raised in colonial Africa where her father was a civil servant, and eventually returning to France as a teenager, Denis subtly explores race and colonial relationships, love and eroticism, the texture of bodies and environments, and the elasticity of time. Following the retrospective, BAM will screen Denis’ critically acclaimed new feature, the poetic science fiction film High Life (2019), starring Robert Pattinson, Juliette Binoche, Mia Goth, and André Benjamin. Denis will appear in person at BAM for a sneak preview show on April 3. The film opens in New York and Los Angeles on April 5. The series begins with Beau Travail (1999), Denis’ masterful update of Herman Melville’s Billy Budd, starring Denis Lavant and regular collaborator Grégoire Colin. A study of jealousy and obsession set among the existential ennui and empty rituals of the French Foreign Legion in Djibouti, Beau Travail captures Denis’ signature elliptical style and hypnotic rhythms. A balletic study of bodies in motion with an unforgettable final scene, Beau Travail is Denis’ most iconic and influential work.
    [Show full text]
  • Claire Denis Capitalist Bastards
    King’s Research Portal DOI: 10.1080/14715880.2015.1077036 Link to publication record in King's Research Portal Citation for published version (APA): Galt, R. (2015). Claire Denis's Capitalist Bastards. STUDIES IN FRENCH CINEMA, 15(3), 275-293. https://doi.org/10.1080/14715880.2015.1077036 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Le Territoire Et La Propriété / White Material De Claire Denis, France, 2009, 102 Minutes]
    Document généré le 28 sept. 2021 19:13 24 images --> Voir l’erratum concernant cet article Le territoire et la propriété White Material de Claire Denis, France, 2009, 102 minutes Fabien Philippe Mettler, l’alchimiste Numéro 157, mai–juin–juillet 2012 URI : https://id.erudit.org/iderudit/66881ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Philippe, F. (2012). Compte rendu de [Le territoire et la propriété / White Material de Claire Denis, France, 2009, 102 minutes]. 24 images, (157), 35–35. Tous droits réservés © 24/30 I/S, 2012 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ White Material de Claire Denis ENTRETIEN Claire Denis et Agnès Godard Le territoire et la propriété par Fabien Philippe ès qu’apparaissent les paysages elle est étrangère. Comment alors posséder guerre civile avance, terrorise la population, africains de White Material 1, une terre à laquelle on n’appartient pas ? jusqu’à envahir la plantation par le biais des D resurgissent dans nos mémoires Comment occuper un pays qui se refuse enfants-soldats, à qui le propre fils de Maria les images du premier film de Claire Denis, à vous ? Dans Chocolat, les Blancs avaient a ouvert les portes du garde-manger.
    [Show full text]
  • Claire Denis
    Curiosa Films présente UN BEAU SOLEIL INTÉRIEUR Un film de Claire Denis Un scénario de Claire Denis et Christine Angot avec Juliette Binoche, Xavier Beauvois, Philippe Katerine, Josiane Balasko, Sandrine Dumas, Nicolas Duvauchelle, Alex Descas, Laurent Grevill, Bruno Podalydès, Paul Blain, Valeria Bruni-Tedeschi et Gérard Depardieu 2017 / France / Durée : 1h34 LE 27 SEPTEMBRE DISTRIBUTION AD VITAM RELATIONS PRESSE 71, rue de la Fontaine au Roi Matériel presse téléchargeable sur : Matilde Incerti www.advitamdistribution.com 75011 Paris assistée de Julien Cuvillier Tél. : 01 55 28 97 00 Tél. : 01 48 05 20 80 [email protected] [email protected] Synopsis Isabelle, divorcée, un enfant, cherche un amour. Enfin un vrai amour. 5 Entretien avec Claire Denis Je me suis retrouvée dans cet entre-deux assez classique : d’Avignon, c’est Agnès Godard qui a fait l’image et tout le travail, replacée en face de mon rapport avec le travail. de dire que l’on a dépassé les misères de l’amour : l’attente entre mon précédent film, si violent, et le prochain, une Fresnoy a participé. En trois jours, plus une semaine de Christine et moi avons eu envie de prolonger ce moment insoluble, l’idéal déçu. On peut commencer à s’approprier coproduction étrangère, forcément plus compliquée à montage, on a fait, avec les seuls moyens du Fresnoy, un heureux. J’ai donc parlé de Christine à Olivier Delbosc d’une ce mot à partir du moment où l’on est devenu plus mettre sur pieds. Je me sentais placée dans une situation film de 45 minutes qui s’appelle Voilà l’enchaînement, part et du projet d’Olivier à Christine de l’autre.
    [Show full text]
  • BASED DISTRIBUTOR, ZEITGEIST FILMS Guy Maddin, Todd
    MOMA PRESENTS MONTHLONG SERIES IN HONOR OF TWO DECADES OF NEW YORK– BASED DISTRIBUTOR, ZEITGEIST FILMS Guy Maddin, Todd Haynes, Bruce Weber, and Yvonne Rainer to Introduce Their Films during Opening Weekend Zeitgeist: The Films of Our Time June 26–July 23, 2008 The Roy and Niuta Titus Theatres NEW YORK, June 4, 2008—The Museum of Modern Art celebrates two decades of films distributed by New York–based Zeitgeist Films with the 20-title exhibition Zeitgeist: The Films of Our Time, June 26–July 23, 2008, in the Roy and Niuta Titus Theaters. Offering a fascinating snapshot of independent American and international film from the past 20 years, Zeitgeist: The Films of Our Time is a selection of works by critical figures in the company’s history and catalog. These range from artists the distributors embraced at early stages of their film careers, including Bruce Weber, Todd Haynes, Deepa Mehta, François Ozon, Olivier Assayas, and Guy Maddin, to established masters like Agnes Varda, Yvonne Rainer, Derek Jarman, and Jacques Demy. This monthlong exhibition includes several introductions and post-screening Q&A sessions with some of the filmmakers, along with appearances by Zeitgeist cofounders Nancy Gerstman and Emily Russo. Many of the directors whose early work Zeitgeist championed will be present to introduce their films: Careful (1992), introduced June 26 by Guy Maddin, who will also introduce Jacques Demy’s Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) the same night; Let’s Get Lost (1988), introduced June 27 by Bruce Weber; Poison (1991), introduced June 27 by Todd Haynes; Privilege (1990), introduced June 28 by Yvonne Rainer; Calendar (1993), introduced July 12 by Atom Egoyan; and Ballets Russes (2005), introduced July 19 by co-directors Dan Geller and Dayna Goldfine with dancer Freddie Franklin.
    [Show full text]
  • Le Traitement Précédé De Messager De L’Amour
    Le Traitement précédé de Messager de l’Amour de Martin Crimp Mise en scène Rémy Barché Avec Baptiste Amann, Suzanne Aubert, Marion Barché, Thierry Bosc, Alex Descas, Catherine Mouchet, Laurent Poitrenaux Le Traitement,traduit de l’anglais par Elisabeth Angel-Perez Le Messager de l’amour, traduit de l’anglais par Christophe et Michelle Pellet ©Tierney Gearon Production Compagnie Moon Palace Co-production La Comédie de Reims – CDN, Théâtre de la Ville – Paris, Théâtre National de Strasbourg, Théâtre Dijon-Bourgogne – CDN (en cours) Création en janvier 2018 à la Comédie de Reims - Vos amis ne trouvent pas ça un peu malsain ? Est-ce que vos amis la connaissent ? - J’ai commencé un… scénario sur elle. - Mmm. C’est de la recherche. - Tout est recherche, à un certain niveau. - Et moi, vous seriez prêt à me baiser pour « la recherche » ? Maps to the stars, David Cronenberg, 2014 « Au début des années 90, on m’a demandé d’écrire des courts métrages. La scène était la même que la scène d’ouverture de la pièce Le Traitement : une personne pose des questions à une autre personne, et une troisième personne observe sans rien dire. Après avoir écrit les scripts, je suis allé à un entretien avec la personne qui avait passé la commande, et il y avait une autre personne dans la pièce. Qui étaient-ils ? Je ne l’ai jamais vraiment su. Personne ne me les a jamais présentés. Rien à voir avec mon expérience d’auteur de théâtre. Tout ce travail n’a jamais mené à rien. Et j’ai pris conscience que je me faisais complètement avoir.
    [Show full text]