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Who would have bet it three years ago, Bruno Dumont become the author of one of the most dilapidated films in the history of the Cannes competition? The name of the director from the North was still synonymous with austerity, grandiose formalism of mystical materialism. He had not yet realized “P’tit Quinquin”, the comic detective series carried in triumph in 2014 at the Directors’ Fortnight, whose phenomenal success on Arte gave him a popular author status. The television control was for him a way to regenerate his art
Read the story. Bruno Dumont, the proles and aristocrats
The mind-blowing wind ” P’tit Quinquin “blew the seams of his film, exploding the dogma he imposed himself, and My Loute is now amplify this movement. Converted to digital, Dumont launches into a costume drama, is important in its ecosystem of non-professional actors North a quartet of stars of French cinema. Fabrice Luchini, Juliette Binoche, Valeria Bruni Tedeschi and Jean-Luc Vincent
Read encounter with Fabrice Luchini, “with Dumont, it started like this”
Perched high on a hill in an unlikely home of Egyptian inspiration at the foot of which extend bans sand Bay of Slack, they form the clan Van Peteghem, incestuous family bourgeois, degenerate violently, they interpret as grotesque puppets, bundled up in costumes squealing each their movement and in a ridiculous affectations gangue – must see Luchini sing in a shrill voice, tight smile, twisted on itself: “This is the time of the top floor, which c ‘ time to the top floor, which is the happy hour! “ The Van Peteghem share the territory of the bay with fishermen, who trimbalent them on the back against some small change when the mood takes them to cross the ford, without suspecting for a moment that these good people whose they continue to rent the picturesque simplicity conceal cannibalistic tendencies
View also. Logbooks of “My Loute” six-part
actors on an equal basis
If Dumont manages to keep this foutraque hitch in one piece this is because it puts all its stakeholders on an equal footing, whether professional or amateur, everyone filming them for what they are, both flesh and idea. Juliette Binoche play beautiful Aude van Peteghem, a diva of the 1900s while exuberance and frilly, the camera filmed unvarnished, sometimes cruelly, and so brings constantly his identity as an actress first. In his role as patriarch whose thick sideburns matched only the immeasurable conceit, Luchini Luchini rest. And if we move the film to pinch before this performance that reinvents literally is precisely because in the same way as non-professionals, the true character, this is it.
we could see My Loute as a biting commentary on the inbred and bourgeois milieu of French cinema, and it would not be wrong. But this film is torn between two opposing movements of falling and levitation, whose staging works on all levels a principle of oxymoron, can not be reduced to the table, frozen and hopeless, a world divided into two classes as sunk to the other. A wonderful character, radiant and rebellious, desire to block and raw revolt (which will according to his mood, disguised as a girl or boy), injected into this little drama swirling disorder that is rocking the senses, certainties, and scheduling things. This is Billie, great revelation of the beginning of the festival, which the interpreter perpetuates the mystery by being simply call Raph.
The mechanical flu is a bit sometimes, but as with any experimental protocol, it’s part of the game
Daughter or son of Aude van Peterghem – the case remains long open to interpretation – Billie My meeting Loute Brufort son of the family of cannibals smugglers, and that’s true love. Romeo and Juliet on the Opal Coast. Dumont portrays them as angels touched by grace, accompany their moose lovers of symphonic swerving exciting – even a transgression to one of his former dogmas. While their romance sows panic among Van Peteghem, the Brufort capture bourgeois spree to pass to the pan, and the cop duo in charge of the investigation, lunar mixture of Dupont and Dupond, Laurel and Hardy, of Van der Weyden and Carpentier in “P’tit Quinquin” let the situation deteriorate to fossilize better social order …
in this big pot when melodrama argument the burlesque, gore thriller at the majestic landscapes grotesque characters, mechanics seizes a bit sometimes, but as with any experimental protocol, it’s part of the game. the charm of this cruel fantasy with which Bruno Dumont raises once more the question of evil n ‘ is all the more dissonant, and that’s good.
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