Claire Denis

Beau Travail wonderfully beguiling

J'ai pas sommeil rolled along very nicely but I was definitely enjoying the wandering direction and little glances of the whole thing more before the murder plot came to the fore.

U.S. Go Home was unexpectedly very fun but delicate where required - a few lovely sequences. The brother's spazz out dance sequence is superb, as is the Dad dancing at the lame party. Got a bit of an American Graffiti vibe. Unexpected Vincent Gallo!

you so inhabit the mood of a girl attending a party that has excited while on the horizon but which disappoints and leaves one directionless while attending. there is a scene of two girls being kind of loud on a bus, & you are even 'with' them then, understanding them, remembering. it unfolds so gracefully.

i probably would have got around to catching this sooner had someone told me how much of it was dancing. really a canonical teenage film, i think (would have to build up the rest of this canon, but: seventeen, paranoid park, ..?)

― honest weights, square dealings (schlump),

schlump nailed it. Highly recommend.

just watched Friday Night........ well holy shit.

One of my absolute faves by her. Hard to believe the same filmmaker made that silly, recent and overrated one with Binoche.

I like both fine.

I remember her doing a Q&A at the NYFF for Friday Night, which is based on a novel by Emmanuèle Bernheim. Someone asked, "Why did these two people fall in love?"

CD replied, "Because the book said so."

xp Friday Night felt completely of a piece with Let the Sunshine In... certainly superior, in every way, a masterpiece, it's more surprising that the same filmmaker made White Material, Trouble Every Day, and 35 Rhums.

why do you say that flappy (I haven't seen Vendredi Soir)

longish article and interview here:

http://cinema-scope.com/features/soft-and-hard-claire-denis-on-high-life/

I bailed on it once I realised it was v. spoilery.

Xp Funny I really l see the similarities between Vendredi Soir, and 35 Rhums. Trouble Every Day is her massive outlier for me, both in style and quality, and it’s a fine movie.

Still need to see Bastards, Let the Sunshine In, and High Life.

just that Friday Night is so impressionistic and painterly. the similarity to LTSI is just in the way she shoots naked bodies up close. there's more plot in LTSI, in Friday Night there's hardly any.

Yeah, to me Friday Night and 35 Rhums exist almost as companion pieces to each other.

I saw it for the first time recently but I need to watch 35 Rhums again, I wasn't really in the best mood & was pretty distracted. Didn't realize it was an update of Late Spring until later but the similarities are obvious, especially that final shot (which is great).

I never made the connection between 35 Rhums and Late Spring before

I need to watch it again too, I've only recently come to understand the pleasure of watching her films, when I first started they seemed so oblique and subtle it was hard for me to latch on to them.

she does the whole close body thing so well

"usually we close late on Fridays; but with the strike..."

I really don't understand what the deal was with the anchovy squiggling on the pizza in Friday Night. there were a bunch of other surreal moments in that film too

I love Claire Denis

other surreal moments…the brief imagined scene of her with Vincent Lindon at her friend’s apartment with the crying baby, the elision of a scene showing an encounter with him on the stairs at the arcade with one of her brushing her hair in the restroom, so close up it’s hard to guess what’s happening, right at the moment she decides to take a chance

The Intruder is the first Denis film I’m not crazy about. It had striking moments visually, and the idea of the stalker was interesting, but between the dreams, portrayal of past events, and the current day narrative it was frustrating to try to make sense of it

Maybe a couple more viewings and I will appreciate it

i hope you will. it's one of her best.

That is a film I fell in love with instantly. I have yet to see all other Denis movies apart from the latest with Juliette Binoche, but the memory of The Intruder still lingers on, years after the viewing.
The confusionary state(s) it put across was the thing I most loved about it.

NYC retro

https://www.bam.org/film/2019/strange-desire-the-films-of-claire-denis

she'll be here too

metrograph.com/series/series/213/an-evening-with-claire-denis

Coming up to the city for the last day of High Life and missing the Kaurismäki Metrograph retro by one day 😔

saw Bastards. I like that Claire Denis uses The Tindersticks in the soundtracks of two of her films

She's used the Tindersticks or Stuart Staples in every film she's made since Nenette et Boni in 1996!

never saw Nenette et Boni, only started noticing it with the title song to Trouble Every Day. didn't realize that they did the scores for 35 Rhums and White Material

amazing scene

https://www.youtube.com/watch?v=zIIzc_DluY4

I like that! US Go Home is another one of her films I still have to watch

glad to see Gregoire Colin show up in so many of her films

she loves amateur dance scenes so much. i do too!

They always express character.

Alex Descas is amazing in No Fear No Die… viscerally painful. And 180 degrees from his character 18 years later in 35 Rhums.

I really liked ‘35 Rhums’ but don’t think I’ve seen any of Denis’ other films.

out today on CC

https://www.criterion.com/current/posts/6380-let-the-sunshine-in-one-love

Claire on bad men

https://www.criterion.com/current/posts/6392-all-the-bad-men-in-let-the-sunshine-in

Do you have gluten-free olives?

That actor is Xavier Beauvois, the director of Of Gods and Men and Les Guardiennes. He's very good in that scene!

yep

Bfi putting on a season of her films this month

I just got back from Brazil and felt like banging you!

keep it to yourself streaming here http://www.lecinemaclub.com/

for yourself*

thinking back on it, "high life" plays better in my head as one big joke about being way too high all the time

or onanistic

High Life is a really great title

Bad take

“The fact Adèle Haenel got up and walked out [at the Césars] – I mean, she has the right to, but with her finger pointed at us shouting "shame!" – I found that a bit strange. People voted, they thought Polanski's film was the best, that's the Césars." – Claire Denis pic.twitter.com/si3b1V57DZ

— Film Updates (@FilmUpdates) March 9, 2020

Why?

Well, for one they probably thought Ladj Ly was the best, but he won Best Film and couldn't win both

Yeah, there were five other options still.

Adèle Haenel is a victim of child sex abuse and the fact that she vocally objected to this win and left the auditorium is laudable. What’s she supposed to do? Sit quietly and hope that they do better next year?

I haven't read it yet but there's a whole interview with Claire Denis in Le Monde about this. She seems to be saying that Adèle Haenel's anger is 'fundamentally just' but she didn't 'pick the right time to speak out', whatever the fuck that means.

I'm also weirded out by this argument:

A quoi sert, d’ailleurs, de le dire si tard [que « distinguer Polanski, ce serait cracher sur les victimes »] ? Dans cette logique, il faudrait priver Polanski de toute aide de l’Etat et l’interdire au Centre national de la cinématographie, comme semble l’y encourager le ministre de la culture. Mais dès lors que Polanski est autorisé à vivre en France et à faire des films en France, il me semble difficile de l’éconduire aussi tardivement.

Quick translation:

What point is there, incidentally, in saying it so late [that honouring Polanski is tantamount to spitting in the victims' faces]? If we go by this logic, Polanski should be denied all state funding and be banned from the Centre national de la cinématographie, which is what the minister of culture seems to be advocating. But insofar as Polanski is given leave to reside in France and to make films in France, it seems difficult to usher him out so late.

Ok…?