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David Lynch the Art Life the Death of Louis XIV USA/Denmark 2016 France/Portugal/Spain 2016 Directors: Jon Nguyen

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David Lynch the Art Life the Death of Louis XIV USA/Denmark 2016 France/Portugal/Spain 2016 Directors: Jon Nguyen David Lynch The Art Life The Death of Louis XIV USA/Denmark 2016 France/Portugal/Spain 2016 Directors: Jon Nguyen. Ri ck Barn es, Oli vla Neergaard -Holm Director: Albert Serra Certificate 15 88m 235 Reviewed by Nick Pinkerton Reviewed by Erika Balsam Artist documentaries are plenty thick on the In the words of Jean Cocteau, ground these days - they're cheap to make, and the cinema is death at work bring an inscribed audience - while those that - but finitude weighs more double as actually great fi lms are only slightly heavily on some images than on less rare than hen's teeth. Sorting through the others. In 1959, the concluding vast middle range beyond that, one usually freeze-frame ofTruffaut's The 400 Blows arrested does best to follow one's own pre-existing the young face of Jean-Pierre Leaud, its stillness inclinations - fOT fans only, as they say. like a premonition of a death to come. Almost Soit is with Ion Nguyen, Rick Barnesand 60 years later in The Death ofLouis XIV, this Olivia Neergaard-Holm's David Lynch- The Art moment of expiration arrives, at least in fiction. Life, a perfectly well-wrought home-video-grade Albert Serra delivers us once more to a sustained featurette that combines original footage of a concentration on one of cinema's most fascinating contemporary Lynch painting in his studio in faces, now jowled, sagging and puffy. In the the Hollywood HilIs- the compound familiar titular role of the Sun King, Uaud lies supine in from his Lost Highway( I 997) - and a voiceover wigs and powder, his necrotic leg rotting away, track in which the high-miffed grand old as those around him - whether out of politeness, man refl ects on his fonnative years and the deference or optimism - refuse to acknowledge creative path that has led him to this point that his body is shutting do\VTl. Closing the circle This is as good a time as any to mention that I from childhood toold age, Louis is anything but am a lifelong, dyed-in-the-wool, carry-me-out-in­ majestic, dribbling and drooling his way to the a-box fan of Lynch; the appellation 'fan' sits rather end with a vulnerable, infantile innocence. uncomfortably next to the profession of critic, The Death ofLouis XrVbegan life as a proposed which is one reason I've almost entirely passed museum installation, commissioned by on opportunities to write about his work through the Centre Pompidou as a perfonnance that the years - not so difficult, given the infrequency would feature Uaud over a I 5--day period. of his output. But now Lynch's name is back in the Something of this origin is preserved in the conversation - hence the release of this fi lm - by resulting film, particularly in its single-room virtue of the fact that Twin Peaks: The Return marks setting and unwavering insistence on bodily the arrival of something like 18 hours of new presence. Yet this is emphatically not filmed audiovisual work from the director. It's a sequel Sitting pretty: David lynch theatre. Working with a three--camera set-up, that has thus far disdained fan service, perversely Serra shot continuously and assembled scenes throwing out the playbook of one of the most the film's best moments add new colour to old in the editing room. He consistentlyexploits beloved cult items of all time in order to devote stories: Lynch becoming freshly outraged while the uniquely cinematic magnification of the an enonnous amount of screen time to Kyle recollecting stonning out of a Bob Dylan concert, close-up, with a quick movemen t of Leaud's Maclachlan wearing an oversized lime-green apparently alannedand appalled by the singer­ eyebrow or the pathetic tubercle of his upper blazer and muttering to himself. And fan that I songwriter's diminutive stature, or his audible lip supplying all the drama that has been am, I take it all in and applaud li ke a trained seaL recoil when speaking offormer neighbours in purposefully sapped from the film's narrative. Like many of my generation, my awakening the then depressed city of Philadelphia, where With its Warholian literalism, Serra's title gives to a conception of what film art could be was he attended the Pennsylvania Academy of Fine away the fi lm's conclusion from its beginning. tied up with seeing what Lynch made it. As Arts. ("One woman, who was my neighbour, As in his previous films Honour of the Knights such, the biographical infonnation covered in reeked of urine, and she was a complete racist.") (2006) and Birdsong (2008) - which reimagined The Art Lifcis largely familiar from readings and No hardballs are lobbed - in fact, if the visuals the stories of Don Quixote and the Three Wise rereadings of the Chris Rodley-edited interview are to be trusted, lynch seems to have been left Men respectively - Serra chooses a narrative for book Lynch on Lynch, though of course there is to record his 0\VTl recollections - and no voices adaptation precisely because we already know an additional pleasure that comes from hearing are heard aside from that of the artist himself, what will happen. This complete cancellation the director amble do\VTl memory lane, with spinning the old yam of his creative coming of of suspense imbues the film with the pathos his inimitable blunt, nasal delivery, while age. So, you know, for fans only- though this one of the inexorable, and sounds a note of dark working away at one of his paintings. Some of didn't at all mind sitting at the subject's feet. @ comedy each time one of the king's retinue insists that recovery is just around the corner. Credits and Synopsis Just as Serra's Story ofMy Death (2013) staged a confrontation between enlightenment and romanticism, The Death ofLouis XlVis structured ""'..... by H.m Production Alilm b')' )on Nguyen. Alexandre Gama Distributor .Ion Nguyen Music Con1IOSed by Companies RICk ~nes. Olivla Vi~OiMeglio Soda Pictures around an overarching epochal tension, this Jason 5 Jonalan Bengta Dock Diver films ~rgaard - HoIm AgaWasiak time a turning-point in the histOlY of medicine $abrina 5. Sutherland Sound Design presents in Executive Producers Josefine Bothe Cinematographer Philip Nicolai Flindt association With Adam f Goktberg between old superstition and new science. Jason S Kong Gulemd Film. Lawrence Makow """,", Serra sides with neither, suggesting instead­ Editedby @DuckDiverFilms& Xanl Studio and Christopi;e Vandaele [178:1] OIiV13 Neergaard- Kong Gulerod Film Hideout Films KurtS,Kltllesol1 and against his characters- that any hope of a cure is futile. Inevitably, all sha ll pass and A documentary about the director and artist David Bushnell Keeler and with Robert Henri's book 'The without great fanfare. As Louis XIV's fl esh Lynch, who is seen pottering in his painting studio in Art Spirit:After a period at the School of the Museum putrefi es, the sounds of ticking clocks and the Hollywood Hills, going about his creative rounds. of Fine Arts in Boston and an abortive European trip buzzing flies fill the soundtrack like aural In voiceoYerwe hear him reflect on his early life, his with friend and future production designer Jack Fisk, emblems ofthevanitas paintings produced in artistic development and the start of his filmmaking Lynch attends the Pennsylvania Academy of Fine Arts career. He begins in Missoula, Montana, where he in Philadelphia, which proves fertile ground for his Flanders and the Netherlands during his reign. was born, and describes a peripatetic childhood, developing sensibility. Here,after being struck by a Serra adopts a palette evoking these images, its many relocations prompted by his father's job desire to see one of his paintings mOlle, he takes his with burgundy and shadowy bro\VTls dominating with the US department of agriculture. The family first steps towards filmmaking and begins to produce his static frame. What better than the demise finally settles in Alexandria, Virginia, where David, an short works. He is accepted into the American Film of an absolutist monarch to underline the aimless teenage delinquent, decides to become an Institute and moves west, where he will begin work transitoriness of all things?The banality of death, artist following a chance encounter with the painter on 'Eraserhead: the film that will make his name. devoid of narrative or symbolic significance, 66 1Sight &Sound I August 2017 Diary of a Wimpy Kid The Long Haul USA 2017. Director: David Bowers. Certificate U 91m 13s Reviewed by VIOlet Lucca Embodying the 'kids will watch anything' ethos that's all too common in children's entertainment, the fourth entry in the Diaryofa Wimpy Kidseries offers little more than of-the-moment pop-culture references and slightly too gross toilet humour. These two awful tendencies collide early on, when Greg Heffley, the eponymous kid, gets a soiled nappy stuck to his hand and a video of him trying to shake it offgoesviral.ln the hope of redeeming himself, Greg tries to divert the family's road trip away from visiting his Meemaw on her 90th birthday and instead towards a gaming convention where his PewDiePie- like YouThbe idol will be in attendance. Along with a piglet that defecates in the car and Greg's harridan mother (Alicia Silverstone), who insists on no cellphones during the trip, the film's main antagonists are the 'Beardos', a family only slightly more irrational and cruel than the Heffleys. These plot strands fail to coalesce, and mostly feel like bad riffs on the Griswolds' misadventures in National Lampoon's Vacation Royal pain: Jean-Pierre Leaud (1983), minus the comic timing or heart.
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