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#brunodumont

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Ricardo Harvin

#France, 2021, #DirectedBy #BrunoDumont is good-looking, with shots throughout meant to remind us of that it's a #film, not reality (my favorite has France walking "through" the car to exit).

Unfortunately, it ends with her seeming to unite with her abuser (rapist?), and introduces threads that have no coherent relevance, they're just hints that ping pong us through her..enlightenment?..disillusion?

#sub: criterionchannel.com/videos/fr

6.5 of 10 ⭐️

From: @ricardoharvin
mstdn.social/@ricardoharvin/11

The Criterion ChannelFranceDirected by Bruno Dumont • 2021 • France, Italy Starring Léa Seydoux, Blanche Gardin, Benjamin Biolay Léa Seydoux brilliantly holds the center of Bruno Dumont’s unexpected, unsettling film, which starts out as a satire of the contemporary news media before steadily spiraling out into something r...
Dustin Kiyeon Chang

David (David Wissak) and Katia (Katerina Golubeva) are driving down to Joshua Tree National Park from LA in their red Hummer. Seems David is involved with filmmaking (he's scouting for locations). With slow pacing, we get to witness their mundane routine- driving, trekking, eating, swimming in a motel pool, fucking, fighting and making up. There is a sense that David and Katia are not communicating well. On the outset, Twentynine Palms plays out like another Antonioni-esque film about disconnection and isolation in modern society. But that's not what Dumont is interested in here. As its sudden, grotesque violence that befalls on our protagonists at the end of the film, it is clear that he is after something else. Given the context of 9/11 & Invasion of Iraq, Dumont is set out to debunk American machismo- Westerns & military power & also throws in sexual politics. Blunt and brutal against stunning backdrop, Twenty Nine Palms shows trivial human existence.

A nude couple lying on a giant boulder from a bird’s eye view
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Dustin Kiyeon Chang

is a film with immense power and beauty. After getting kicked out of the convent because of her zealotry by concerned mother superior, Céline is befriended by an Arab youth, who at first is attracted by her beatific demeanor, then impressed by her devotion. He in turn introduces her to his brother who teaches at a madrasa. serenely shows how innocence can easily get bought into the martyrdom without judgment. His approach is so austere & sincere, the film really moved me.

Dustin Kiyeon Chang

Dreyer's The Day of Wrath might be the spiritual ancestor to this film. But Dumont's film strips down its religious undertones and goes for something more interesting and ambiguous. There is something primal/animistic about Hors Satan: Dewaele's satan/saint often prays facing the expansive nature in front of him, kneeling down with one hand cupping the other. There’s always some spiritual longing in Dumont’s work. And it’s deeply moving.

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