semi-related: there's a beautiful pick from the white material score on the tindersticks sampler that came with sight and sound. it makes me want to check out the whole thing.
― sensual bathtub (group: 698) (schlump), Tuesday, 26 April 2011 23:19 (nine years ago) link
apparently she wrote an enthusiastic piece on kore-eda in cahiers, once. i wish i could find it. i have US Go Home queued up for some spare night soon.
― stately, plump bunk moreland (schlump), Wednesday, 15 June 2011 13:59 (nine years ago) link
oh wow u.s. go home. as good as the others, i wasn't expecting it.
― honest weights, square dealings (schlump), Tuesday, 4 October 2011 23:25 (eight years ago) link
excellent. I didn't care for White Material.
― Anakin Ska Walker (AKA Skarth Vader) (Alfred, Lord Sotosyn), Tuesday, 4 October 2011 23:30 (eight years ago) link
i- i think i still have that confusion from white material, the way i did catching in the mood for love after chungking, expecting the latter so not knowing how to deal with the former. & i was so psyched for white material but, that it obviously wasn't giving me what i'd expected from 35 rhums, not necessarily in tone but just in such exquisite juxtaposition & montage, threw me. i feel like if i rescreened i'd probably admire greatly - it's breadth is a lot to take in at first, and the son's weird tangent feels like a digression. i liked its tension. that is probably what everyone says.
but i almost feel bad, thinking about white material while watching us go home, because i so just want her to do that, do her thing, film people dancing and make a muybridge wheel from the faces you see each time the pair rotate. & i wonder how it must feel preparing to make another film, knowing that zooming into any kind of territory in which people are bouncing off each other & relating & gently affecting one another would give her opportunity to do that again and again. 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), Tuesday, 4 October 2011 23:46 (eight years ago) link
WM felt like a step backward: a re-examiniation of the Chocolat material without the precision.
― Anakin Ska Walker (AKA Skarth Vader) (Alfred, Lord Sotosyn), Tuesday, 4 October 2011 23:53 (eight years ago) link
would really be testing my memory & its ability to correlate material seen years apart to compare the two, here, but i don't know if it isn't too narrow to treat them as being similar; i feel like WM is kinda intended as a very sensory 'mood piece', with a whole psychotic underside, making you inhabit isabelle huppert & taking you through her routine as it grows more claustrophobic, i guess still looking at displacement and belonging and stuff, but in quite a different way/from a diff POV than chocolat. which was precise, and more level, as far as i remember. i guess i'm arguing that locale & even subject, colonialism, don't qualify as being the same 'material', which i'd feel more nervous about were it not for mood being as significant an aspect of denis' films as anything else in them.
― honest weights, square dealings (schlump), Wednesday, 5 October 2011 00:04 (eight years ago) link
I know what you're saying. In WM her method of evoking fails her though. I wrote at the time: "Her her fondness for lacuna can turn her pictures into thesis statements for unfinished college essays."
― Anakin Ska Walker (AKA Skarth Vader) (Alfred, Lord Sotosyn), Wednesday, 5 October 2011 00:08 (eight years ago) link
ha, yeah - like i say i don't want to really judge the success of WM because i was slightly mixed up when watching it, but i think that's interesting & nails her 'approach'. it really is a long time since i saw chocolat, however, & i think i keep it separate from the more sensuous, evocative films because it isn't (iirc) using that toolset to talk to the viewer. i think that sparsity in white material is part of its intentionally uneven, ill-fitting & anxious sprawl, though that perhaps contradicts what i said about the film being her interior POV.
i went to see CD in conversation a while ago, incidentally, & have been meaning to dig out the notebook i was using at the time to transcribe what i scribbled down - was v inspirational, the debate coinciding with the box set of tindersticks' film scores that came out so kinda musically themed, but just very lovely in general. she has this great voice that sounds like every cigarette she ever smoked. there's an interesting clip here where she starts to talk about montage, w/a lovely off-hand line about the significance of a chair in a scene.
― honest weights, square dealings (schlump), Wednesday, 5 October 2011 00:19 (eight years ago) link
i was thinking about denis films, i guess in anticipation of the next, & suddenly found or thought that something they have in common is this slightly unwieldy, slightly too expansive range. in each there is ordinarily an extra thread that loosens the focus - the son in white material, the murders in i can't sleep, even the depressed driver in something as otherwise fairly compact as rhums. it's strange for me to think of them with reference to this one characteristic, as if there's something imperfect or misjudged about them, when i think it probably can't be neatly separated from what makes the films work. the best thing that haneke does is show a disconnect between the participants in his films, a moment with a child talking to an adult in which each is clearly on a different frequency. & i feel like maybe denis does the opposite, in giving us enough of a sense of space and variety and sprawl as to understand the connections made against that backdrop. it isn't that she's going for that panoramic or sort of modernist-Dos-Passos-narrative thing, i don't think. i don't know what it is. but she obviously does something through montage and territory that no-one else does & it feels surprising to notice a commonality that isn't as immediately celebratable as, you know, her dance scenes or smart use of music or smoldering leads or w/e.
― daft on the causes of punk (schlump), Sunday, 28 April 2013 21:19 (seven years ago) link
Ah, I think that's a very interesting way to describe her films! Look at the way Nenette et Boni begins, circling the neighborhood, tugging at threads/stories until one comes loose enough to follow for a while; or at L'intrus, where almost the whole film is extra threads, and it's not clear how they relate, or which ones could be called the focus. It's definitely not panorama she's going for, but, to work with your thread motif, more as if a piece of cloth were roughly torn away, leaving dangling ends and frayed edges. It's not neat, because it's not a story or a picture but a collection of ideas, and ideas connect and branch off and continue. It's not necessary to follow them to see where they lead, but simply to acknowledge this entanglement all around. I think it's a lovely thing she's doing, and completely celebratable.
― Cherish, Tuesday, 30 April 2013 03:10 (seven years ago) link
Is there some kind of conspiracy that's made her earlier films so hard to find and expensive? (Other than Chocolat). Are the French keeping her to themselves on purpose?
― inventionsforjohn, Monday, 13 May 2013 11:11 (seven years ago) link
― Gukbe, Wednesday, 17 July 2013 05:23 (seven years ago) link
saw Chocolat for the first time today, wow. Best film about colonialism by a Westerner?
― eclectic husbandry (Dr Morbius), Sunday, 20 October 2013 01:59 (six years ago) link
I wanna say Outcast of the Islands but, no, she understands movement.
― the objections to Drake from non-REAL HIPHOP people (Alfred, Lord Sotosyn), Sunday, 20 October 2013 02:16 (six years ago) link
bastards is really intense, def has lots of lynchian dread
― johnny crunch, Friday, 25 October 2013 21:54 (six years ago) link
On Demand today and I have no access or money. :(
― Insane Prince of False Binaries (Gukbe), Friday, 25 October 2013 21:59 (six years ago) link
won't c&p it cuz its spoilery but the last few lines of the nyt interview article w/ denis re this is sorta wildly illuminating
― johnny crunch, Friday, 25 October 2013 22:02 (six years ago) link
tindersticks also fuckin kills it as per yoosh
― johnny crunch, Friday, 25 October 2013 22:05 (six years ago) link
Bastards is sort of a compelling pile of crap.
― eclectic husbandry (Dr Morbius), Saturday, 30 November 2013 16:41 (six years ago) link
Not her best but not crap.
― Insane Prince of False Binaries (Gukbe), Saturday, 30 November 2013 18:03 (six years ago) link
Don't think Chiara works as a character that well but everything else pretty great. Long Goodbye vibes.
― Insane Prince of False Binaries (Gukbe), Saturday, 30 November 2013 18:04 (six years ago) link
i see a lot of similarities between "beau travail" and alan clarke's "contact". military setting, austere feel, lack of dialogue/exposition
― subaltern 8 (Michael B), Saturday, 30 November 2013 23:50 (six years ago) link
oh I wish it had 10% of the fun of Long Goodbye
― eclectic husbandry (Dr Morbius), Sunday, 1 December 2013 06:05 (six years ago) link
Well the "fun" bit wasn't what I was talking about.
― Insane Prince of False Binaries (Gukbe), Sunday, 1 December 2013 06:58 (six years ago) link
I forget that with cable I get to pay for some of these films for less than at the box office, and Bastards one of them.
― the objections to Drake from non-REAL HIPHOP people (Alfred, Lord Sotosyn), Tuesday, 3 December 2013 02:25 (six years ago) link
"More fun." Yes, that's clearly what this material warranted.
― Alfre, Lord Woodard (Eric H.), Wednesday, 4 December 2013 14:18 (six years ago) link
Seeing a lot of people comparing this one to L'Intrus in form, which I guess I can kinda see. But it's the version of L'Intrus I didn't f'n loathe.
― Alfre, Lord Woodard (Eric H.), Wednesday, 4 December 2013 14:19 (six years ago) link
The terseness of her editing is at its peak in the first half; dunno what to think of the last 15 min though.
― the objections to Drake from non-REAL HIPHOP people (Alfred, Lord Sotosyn), Wednesday, 4 December 2013 14:28 (six years ago) link
it's the version of L'Intrus I did f'n loathe
the "serious" material is treated with unserious pomposity
― eclectic husbandry (Dr Morbius), Wednesday, 4 December 2013 14:59 (six years ago) link
C'mon, I love art-house severity as much as the next guy, but L'Intrus was impenetrable wankery of the first order.
― Alfre, Lord Woodard (Eric H.), Wednesday, 4 December 2013 15:08 (six years ago) link
L'Intrus was impenetrable wankery of the first order.
I think L'intrus is the dream-logic version of a film you might have liked. As if Wild Strawberries had been only dreams, for example, and if Borg were consumed by guilt. It's not wankery when you've watched it a few times.
I liked Bastards, too. But, yeah, the end is baffling. It's crazy atmospheric, yes, but why show us the footage? It's so unlike her.
― Cherish, Wednesday, 4 December 2013 18:18 (six years ago) link
forever since i saw l'intrus but it's a pretty ridiculous comparison to me, here. i was so shocked by the distance between what i was expecting of this, based on cannes reviews & other feedback - basically unusually trained, un-peripatetic torture porn - & what this film actually is (obviously the takehome here is just never read anything reported from cannes i know i know); the film is maybe only mildly more intense than, & in its reach & perspective is very similar to, j'ai pas sommeil. i wonder whether the part of the response that considers this just compelling trash is really just all of the thread involving the gun, & its denouement, which: yeah are their own little kinda noir episode. but there was still a lot to like about this. it gave me enough pause & space & stimulus to circle around everything you see in a way more interesting way than we've ever otherwise accustomed to. like the lindon performance is really interesting, i think. everybody laughed when he snapped off some of the baguette. the sex made me feel emasculated, & that it was so convincing of him & so distressing at more of a distance (for me). & she's just so confident with every other small role - the little boy, the bruno forestier guy ("jerk me off"), &c.
found it really interesting to see her working with digital; i thought maybe a third of it was jarring - like the shots of alex descas - & at other points she was in this beautiful new mode, the scene on the boat, lindon talking in the back of the car, & man a couple of really exquisite, i-guess-chris-doyle-ish shots like the opening rain.
― love mike love (ko komo) (schlump), Saturday, 14 December 2013 02:49 (six years ago) link
But, yeah, the end is baffling. It's crazy atmospheric, yes, but why show us the footage? It's so unlike her.
i really disagree with this! i think she's obviously very committed to a kind of panorama, which trusts somebody to leave out the specifics, but i don't think that's noticably elliptical or shy. there are shots in 35 rhums & i'm just gonna assume from memory trouble every day that aren't dissimilar, & for it to bookend the film confrontationally feels like a necessary element of what the film was about, particularly given the reference points of like the unindictable DSK, &c.
― love mike love (ko komo) (schlump), Saturday, 14 December 2013 02:52 (six years ago) link
― tender is the late-night daypart (schlump), Monday, 29 June 2015 18:53 (five years ago) link
Pattinson is "attached"
― skateboards are the new combover (Dr Morbius), Friday, 28 August 2015 18:25 (four years ago) link
olafur eliasson being involved is orders of magnitude more exciting imo
― tender is the late-night daypart (schlump), Sunday, 30 August 2015 03:58 (four years ago) link
Anyone seen Let the Sunshine In? Gonna do so tomorrow. Pinkerton loves it:
The true testimony to the preeminence of Let the Sunshine In is not in its selection of themes, but in its remarkable attention to the fine grain of human behavior. Put plainly, I know of few filmmakers who bring to bear an emotional and cinematographic intelligence and attention from scene to scene that is comparable to that of Denis. (I have interviewed the filmmaker only once, and her keen insistence of cross-examining my clumsily worded questions until they achieved absolute precision of language still keeps me up nights.) The drawn-out pas de deux between Isabelle and her actor friend is a perfect illustration of Denis’s craft, a low-key set piece that invests with aching feeling the proximity of two hands and the possibilities that this proximity suggests, the inherent erotic tension of an idling car, and the comical pretext of a nightcap champagne bottle left unopened on a living room coffee table.
― morning wood truancy (Alfred, Lord Sotosyn), Wednesday, 9 May 2018 15:16 (two years ago) link
Yeah, it's pretty fucking good. Perhaps not Denis' best, but good. Her run from 1999-2009 is a pretty stunning ten years of filmmaking.
― Frederik B, Wednesday, 9 May 2018 16:24 (two years ago) link
― flappy bird, Tuesday, 22 May 2018 01:54 (two years ago) link
lots of hate on my Letterboxd feed; i think it's easily her best since 35 Rhums
― the ignatius rock of ignorance (Dr Morbius), Sunday, 27 May 2018 01:22 (two years ago) link
― flopson, Thursday, 28 June 2018 01:55 (two years ago) link
― flopson, Thursday, 28 June 2018 02:00 (two years ago) link
Had a second go at The Intruder, 13 years after the first. Still somewhat baffled, but variations on a theme of searching for a heart and a son, I guess? At least one great joke: "Do you want a glass of water?" followed by a cut to the rolling ocean.
DP Agnes Godard was there for a Q&A (35mm, Lincoln Center) and said "I miss the negative... digital is mathematic, film is intuitive." And a quintessential LincCtr old woman in the back third of the theater couldn't help herself even before the audience was called on, shouting "WHAT IS THE FILM ABOUT!?!"
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Sunday, 29 July 2018 16:03 (two years ago) link
― 3-Way Tie (For James Last) (James Redd and the Blecchs), Sunday, 29 July 2018 16:24 (two years ago) link
i really fucking hate old people for someone who almost is one
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Sunday, 29 July 2018 16:35 (two years ago) link
She's not wrong.
― I Never Promised You A Hose Harden (Eric H.), Sunday, 29 July 2018 16:36 (two years ago) link
you and the Upper West Side Golden Girls are united on this one
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Sunday, 29 July 2018 16:49 (two years ago) link
Lol, I asked Claire Denis a question at one of those Q&As once, but that was when I was much further from approaching my dotage.
― 3-Way Tie (For James Last) (James Redd and the Blecchs), Sunday, 29 July 2018 17:02 (two years ago) link
that feeling when you learn A24 bought Claire Denis’ HIGH LIFE and is planning a big theatrical release. pic.twitter.com/VgMN9kb7uQ— david ehrlich (@davidehrlich) September 12, 2018
― flappy bird, Thursday, 13 September 2018 17:22 (one year ago) link
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.
― romanesque architect (pomenitul), Monday, 9 March 2020 18:39 (four months ago) link
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.
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.
― romanesque architect (pomenitul), Monday, 9 March 2020 18:49 (four months ago) link
Minister for culture otm.
― Alain the Botton (jed_), Monday, 9 March 2020 18:55 (four months ago) link
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.― romanesque architect (pomenitul), Monday, March 9, 2020 2:39 PM (twenty minutes ago) bookmarkflaglink
― romanesque architect (pomenitul), Monday, March 9, 2020 2:39 PM (twenty minutes ago) bookmarkflaglink
Booooo. Denis calling her protest "strange" is stupid & and lol you always know someone has actually picked 'the right time to speak out' when others criticize them for exactly that.
but Polanski's film won--I guess "thats the Cesars"
― flappy bird, Monday, 9 March 2020 19:02 (four months ago) link
(and I am booing Denis, I am with you pom)
― flappy bird, Monday, 9 March 2020 19:03 (four months ago) link
Poor guy has been tested positive for Covid-19. :(
― romanesque architect (pomenitul), Monday, 9 March 2020 19:47 (four months ago) link