Photo © 2013 Wild Bunch - Alcatraz Movies - Arte France Cinema - Pandora Film Produktion.
Bastards [Les salauds] begins, like Garrel's Un été brûlant, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.
Bastards [Les salauds] begins, like Garrel's Un été brûlant, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.
- 10/11/2013
- by Daniel Kasman
- MUBI
It's been two years on the dot since Maurice Garrel and his grandson Louis were last paired on screen in the criminally misunderstood Un été brûlant, an elaborate treatise on authenticity and imitation, as well as on experience and its reluctance to be imparted. In the film's final scene, Philippe Garrel bestows a generous gift on the medium as such when Maurice's ghost visits the dying youth in a hospital room to tell stories about his involvement in the Resistance and miraculous survival on the battlefield. The actor died shortly before the film was completed. Basking in the bright sunshine, the old man, all pigment spots and with an incessant tick, is playing the part of a dead man, all the while professing his love of life.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
- 10/3/2013
- by Boris Nelepo
- MUBI
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