Archive for Juliette Binoche

Higher Education

Posted in FILM, MUSIC with tags , , , , , , , on March 23, 2020 by dcairns

My first year film class is split up into little rooms and scattered over the globe from the US to China, I’m trying to get us all together to view and discuss a film on MUBI, a platform which is free to film students. I’ve chosen Claire Denis’ THE HIGH LIFE because I want to see it and haven’t gotten around to it yet. It ends its run on MUBI today, I believe.

Looks like you can GIFT a viewing of the film to a friend also if you watch it on MUBI.

So hopefully there’ll be a lively discussion in the comments section. First-time commenters will not see their remarks immediately, I have to clear you first, so don’t worry if it takes a little while.

I liked the film — like a lot of art films it’s equal parts beautiful, confusing, frustrating and disturbing. I was concerned that the science was junk but I googled it and there is some theoretical basis to the idea of harvesting energy from a rotating black hole. But I’m not going to be the first to try it.

The song at the end convinced me I really liked this.

If this works we’ll do it again. If not, I’ll try and work out improvements.

Obviously, regular Shadowplayers are more than welcome to chip in here too.

And here is another essential bit of Denis to play us out:

 

In Seine

Posted in FILM with tags , , , , on June 25, 2016 by dcairns

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Having failed to appreciate MAUVAIS SANG as an ignorant youth, I’d given LES AMANTS DU PONT-NEUF the go-by — I probably wouldn’t have appreciated it then either. Fast-forward to a couple of days ago, and it made the perfect climax to my Edinburgh Film Festival activities. The comparison crossed my mind while watching — This is like Kusturica’s ARIZONA DREAM — both are spectacular, romantic, crazy, excessive and overlong films, documenting in convincing detail the tribulations and ecstasies of amour fou. You could double-bill them but you would be pretty sore and tired after that arse-marathon — the Carax, like the Kusturica, wears the viewer down with its stop-start narrative and wide-eyed intensity.

Denis Lavant is remarkable as ever, and Juliette Binoche is remarkable as never before or since. Carax seems to be channeling the energies of his beloved LA PETITE LISE and things like MENILMONTANT, while recombining story elements from Chaplin’s CITY LIGHTS (imprisoned hobo, blind girl, new miracle cure) in sometimes dark and disturbing ways. The combination of grand, budget-busting spectacle, documentation of the degraded depths of the underclass, almost psychotic levels of romanticism, and bursts of fantastical whimsy could easily be distasteful — Carax operates without a safety net, trusting that he can crush our reservations with sheer passion and overkill.

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Favourite moment among many: we track along looking at the pavement of the bridge, littered with empties from Lavant and Binoche’s cheap wine binge, eventually discovering their slumbering figures — which are the same size as the bottles. Carax has constructed a photorealist street curb and debris at many times life-size, and posed his actors within in. You could fit half a Binoche in that bottle. Astonishing. Nothing like it occurs elsewhere in the film, which is part of its impact. As with Herzog’s EVEN DWARFS, I think we should assume not that our leads have shrunk, but that the world has grown fantastically overnight.

Is it a nod to THE SMALL BACK ROOM? If so, like the rest of the film, it’s so extreme as to be almost a physical impossibility as nods go. The kind of nod produced by a guillotine blade.

It’s amazing Carax is still alive and working. This seems like the kind of orgasmic death-throe cinema that SHOULD kill a director.

Jamais

Posted in FILM with tags , , , , , , , , , , on June 22, 2016 by dcairns

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I think I’d seen MAUVAIS SANG (ridiculously translated as THE NIGHT IS YOUNG) in around ’88, but maybe I only saw bits, on TV. At that time I thought Beineix was cool and I found Carax annoying. Now, though Carax is perhaps a bit precious at times, I regard my late-teenage affection for BETTY BLUE and DIVA as mostly youthful folly, and Carax seems like the true filmmaker.

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What’s black and white and red all over? This film, though it also has grey, and blue (so it can do Godardian tricolor shots) and the hero’s jacket is a sort of leather harlequin thing with a lot of yellow, a colour that appears otherwise only on the ubiquitous yellow cigarettes the cast smoke. Those yellow cigarettes, and the film’s fictional STD and sinister big pharma company (“Darley-Wilkinson” — always say the name twice, ominously — and those initials recall Griffith, from whose vaults Carax is stealing a disease called cinema) show Carax’s interest in world-building — a few little clues tell us that we’re at a slight remove from our usual reality. I suspect Carax of being inspired by REPO MAN.

The only movie flat-out quoted with a clip is the Pathe-Natan production LA PETITE LISE, seen on a TV set, and referenced in dialogue whenever the young Denis Lavant speaks of Julie Delpy’s character (“Ma petite Lise”). LA PETITE LISE, by the way, is the most important earl sound film that few of you will have seen. Like that film’s hulking hero, Lavant is newly released from prison but his freedom is to be short-lived…

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Lavant is so young! Bizarre and compelling and strangely beautiful, except when he smiles, terrifyingly, a lipless lesion crammed with crockery abruptly splitting his porous deadpan. He looks like if Lee Marvin had a monkey.

Fiona had been utterly charmed by Michel Piccoli in DIABOLIK. “Inspector Ginko is so NICE! He’s the nicest man in this whole film festival.” I don’t know if he’s that nice, but Piccoli plays him that way. He’s back here, older and heavier (Carax cruelly makes his aging crooks play lots of scenes shirtless. Crime seems very very homosocial, to say the least, despite the presence of Juliette Binoche.

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Binoche is already slightly annoying. But also sweet and gamine and surprising and stunningly photographed.

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The film is so fey — and it’s probably forty minutes too long — its B-movie antecedents moved their crime stories forward along with their romances, whereas this one drops the heist for huge stretches. I wish Carax was just 1% more into plot, or brought a friend along who was. But the charming bits are charming indeed, and the visuals beautiful, and Carax’s use of music, which somehow frustrated me as a kid (he cuts it off dead sometimes, like JLG) now seems generous and ecstatic.

EIFF is showing a season of Cinema du Look classics — LES AMANTS DU PONT-NEUF tomorrow!