Download e-book for kindle: Brutal Intimacy: Analyzing Contemporary French Cinema by Tim Palmer

By Tim Palmer

ISBN-10: 0819568279

ISBN-13: 9780819568274

Brutal Intimacy is the 1st ebook to discover the interesting movies of latest France, starting from mainstream style spectaculars to arthouse experiments, and from wildly renowned hits to motion pictures that intentionally alienate the viewer. Twenty-first-century France is an incredible resource of overseas cinema--diverse and dynamic, embattled but prosperous--a nationwide cinema providing whatever for everybody. Tim Palmer investigates France's starting to be inhabitants of ladies filmmakers, its buoyant forefront of first-time filmmakers, the increase of the debatable cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noe, and stars resembling Vincent Cassel and Jean Dujardin. examining dozens of leap forward motion pictures, Brutal Intimacy situates notorious titles along many but to be studied within the English language. Drawing on interviews and the testimony of best movie artists, Brutal Intimacy can provide to be an influential therapy of French cinema this present day, its evolving competition with Hollywood, and its bold ambitions of audiences in Europe, North the United States, and worldwide.

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Later, in another anticlimax, Floriane rejects Marie after their only kiss, which leads to a four-minute sequence without talking that—very assertively—concludes the film. In this vein, more disconcertingly, almost nothing at all is said after Floriane loses her virginity to Marie. The word lesbian is never spoken, no Young Cinema and First-Timers 37 Marie and Anne (Louise Blachère) in the final shot of Water Lilies ramifications of the act unfold: the girls instead wordlessly make the bed; Marie murmurs, “Wait”; Floriane replies, “I have to go,” and leaves.

42 Again, the debutant’s issue is textual belatedness. These rites-of-passage materials are so self-evidently well-worn that they need reinvention on-screen, a conscious process of defamiliarization. Concomitant to this, through textual citation and off-screen self-promotion, is the opportunity for the first-time director to advance her cinephilia and nascent auteurist credentials. In Sciamma’s case, the motif was minimalism, a wholesale dramatic and stylistic deflation. The figure of Robert Bresson, an uncompromising advocate of formal reduction and a perennially cited influence among la Fémis students, loomed especially large; Sciamma also repeatedly referenced Gus Van Sant’s pared-down work on films like Gerry (2002), Elephant (2003), Last Days (2005) and Paranoid Park (2007).

39 Water Lilies centers on three young teenaged girls, Marie (Pauline Acquart), Floriane (Adèle Haenel), and Anne (Louise Blachère), all of whom are involved with a synchronized swimming team in Cergy, a New Town built in 32 b r u ta l i n t i m ac y the 1960s to the northwest of Paris. The personalities of these so-called “synchro girls” are defined by their body types. The introverted Marie is skinny and petite, whereas Anne, her cast-off best friend, is a much larger girl in build and height, boisterous in her behavior yet painfully lacking self-esteem.

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Brutal Intimacy: Analyzing Contemporary French Cinema (Wesleyan Film) by Tim Palmer

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