'There were boos at Cannes when Bruno Dumont's L'humanité (1999) won three major awards. Boos perhaps because he's self-taught, an unusual filmmaker working outside the main tradition of the French film industry, and a creator of such extraordinarily fresh work that he polarizes opinion moreso than Mr. Stone-in-the-shoe himself — Lars von Trier. Instead, Dumont — unhappy with modern art cinema ("it's lost touch with life") — wants his cinema to "return man to the body, to the heart, to truth". I greatly admire his clean, organic approach and find his films intoxicating, indeed, utterly essential.
'If you gravitate towards cinema that is more than just fickle entertainment (a rare pastime today, I know) then the haloed procession of poet filmmakers over the last century will probably have caught your interest. For me, Bruno Dumont's cinema is refreshingly devoid of the aristocratic notions and self-referential winking that can sometimes asphyxiate modern art cinema. Dumont refuses to let meaning be obfuscated by these unfortunate traits - traits which have ghettoized modern art films to the fringes of cultural discourse. His films aren't made as traditional entertainment nor do they exist to make money (something that must seem incomprehensible to most American filmmakers and audiences) — but how refreshing they are!
'Bruno Dumont spent his twenties and most of his thirties working two jobs (teaching philosophy and making commercial films for local businesses) after being refused a place at the top film schools in France. His first film was for a bank surveillance company. Subsequent films dealt with heavy industry, machines in action and manufacturing procedures — basically from-a-raw-material-to-a-finished-product type films. He described the process in a 1999 interview, "I had the camera go inside the chocolate machine, which brought me one of my first emotions through film. It was beautiful to see chocolate fall down and I managed to amplify this and create emotion. People were touched to see the candy, and after that I was always trying, always searching for the emotion. I was only shooting the machines, but I was looking for the emotion in the machines."
For fifteen years he shot candy manufacturing films, the building of a highway, a real estate attorney's congress, and other seemingly banal projects. Dumont described how, looking back on this, everything he was filming, no matter how dull, became interesting, "I learnt how to make uninteresting things interesting. The way I work today is completely linked to those ten years of filming nothing."' -- Nick Wrigley, Masters of Cinema
______
Media
(French w/ English subtitles)
Bruno Dumont on 'Twentynine Palms' (English)
Bruno Dumont on 'Hadewijch' (in French)
__________
Resources
__________
Interview
Are you, by nature, a religious man? Or more a philosophic one?
BRUNO DUMONT: These days I am very interested in mysticism because it goes way beyond philosophy. Mysticism takes us to areas that are beyond questions of reason, beyond speech, and beyond our comprehension of the world. It takes us to an area that is very close to cinema, and I think that cinema is capable of exploring that area and expressing it. That's why, necessarily, I am attracted to mysticism. At the same time, it's a complex area. I'm not myself religious—I'm not a believer—but, I do believe in grace and the holy and the sacred. I'm interested in them as human values.
For you, shooting a film doesn’t consist in obtaining a preconceived image in the screenplay, but rather in being inspired by what you get.
BD: I look for something that dazzles, but what’s dazzling is the film itself. It’s not a shot – beautiful shots scare me; music scares me. Even though this time I said I was going to put some in, I’m already having trouble getting it to fit. It’s very rudimentary, in fact. We manage to make things out of little pieces of wood, the actress does something else and we realize it’s not bad. At the same time, you have to keep an eye on it, there’s a screenplay, but I believe the movie will be less than the screenplay. That’s good. The screenplay is a mindset, it’s constructed by a mind. Making a movie with my mind doesn’t interest me at all. When I hear the dialogs I ask them to do from time to time, I find them pretentious. So I prefer for them to say nothing. I realize it. I talk to her, but often she’s looking at me, she doesn’t understand what I’m saying. The result is rather surprising.
I shot a scene with a page of dialog; in the end there was only one word. The little word at the end is really good because it came out of all those failures. You have to listen, go through the dialog, realize they can’t manage to say it, that it’s over-written. And anyway, they’re all printed. When people say my films are taciturn, it’s simply a result of the takes. At the beginning, there’s a lot of talking and we remove things until it’s very simple.
When I shoot, I’m terrified, it’s cold, there are a lot of people, we’re expecting this thing that doesn’t happen, so you’re better off embracing what comes along and giving it shape rather than fighting to force something to happen that will happen anyway. When I prepare a movie, it’s a composite of all the elements; the screenplay can’t be too good, nor the music too beautiful, nor the lighting too beautiful; it’s a balance. The screenplay isn’t that important, but it’s for the industry. It’s not the movie. The screenplay can’t be too strong, other things must come to life as well, there’s the sound, the frame, the camera movement – it’s a balance. But we work with a screenplay which is a determining factor because the financing comes from there. People swear by it.
And that’s why you refuse to give the screenplay to your actors?
BD: If you give it to the actors, they read it, work on it, and what interests me is rather what caused the screenplay. What interests me is that the film I’m making is what caused the screenplay I wrote, and not that it’s the result of it. That’s why I hope it’s going to be much simpler, much more ordinary, especially for a subject like this one.
The idea of returning to pure intentions…
BD: Purity. God, love, these words are so… You can write them down, I’m not afraid to write them down, but when you have a face in front of you… Love can come out of a footstep, a noise, a branch, it can come from anywhere, so you have to be careful to grasp it when it happens.
_________
The films
____________
Vie de Jesus ('Life of Jesus'), 1997
'In La vie de Jésus, Dumont represents the youth of today as decaying — lost and despairing — yet he's aware that they hold the future in their hands. He wants to combat their despair, to make them understand that they are capable of inventing their own future, "What's important is the person who watches it. He continues to live," — Dumont said at the film's release — "perhaps in this darkness he will see the glimmer, but I stopped, finally at the moment when the glimmer appears. I'm not a prophet, it is not for me to say anything, it is for people to do something."' -- MoC
____________
L'Humanite ('Humanity'), 1999
'L'humanité is a film that people either seem to be locked into from the start or they just can't abide. At the time of L'humanité's release, Sight & Sound magazine in the UK ran a feature article with an opposing rant and rave by two writers. The rave was by Mark Cousins who talked about the "stare" of the film. He wrote, "Dumont has no pity in his eyes for his extraordinarily empathetic policeman, who seems to absorb all the evil he sees. This creates a completely gripping system of looks — icy cold looking at burning hot — which is miles away from the Film Studies categories of the gaze, the objectifying look, the invisible narrative look. The stare of L'humanité is CinemaScope Pasolini, unblinking Bresson."' -- MoC
____________
Twentynine Palms, 2003
'Dumont's third is perhaps his most polarizing film yet. If one were trying to plot where Dumont might go after his first two films, you'd be hard-pressed to plot this. It's certainly no retread, and it marks a few important changes in Dumont's approach. Firstly, it's set in the USA; secondly, it features "proper actors" for the first time; and thirdly, it was written in two weeks whereas his earlier films took a number of years each. Twentynine Palms is a unique film which shows — in the simplest, bleakest terms — how senseless violence can engender further senseless violence. The visceral immediacy of this summation stays with you for days.' -- MoC
____________
Flandres, 2006
'Flanders is a remarkable film, though it is not an easy film to digest. This is director Bruno Dumont’s fourth feature, and like his previous films, it contains scenes of crude behavior and gruesome brutality. Flanders is relentlessly bleak, but as it works its way into your bloodstream, the aftertaste is somewhat akin to relief. It’s like a confession. For those who allow it, Flanders offers the comfort of recognition, and acceptance, of what it means to be human. Dumont refutes the notion of film as entertainment with a monk’s diligence. An austere stylist, he pares everything down to its essence, so that a film like Flanders almost doesn’t feel like a film at all. He uses nonprofessional actors, there is no music on the soundtrack, and there is very little in the way of a story. It’s a bit like what happens when we look at an abstract expressionist painting. It’s better not to try to understand the painting on an intellectual level, but to let it enter your awareness through how it makes you feel, in your gut.' -- Beverly Berning, Culture Vulture
____________
Hadewijch, 2009
'Hadewijch ends with a bang—or seems to—after which Hadewijch returns us to the convent for what at first feels like a flashback, and then like a dream (both of which would also be Dumont firsts), and which, even taken literally, ranks among the most haunting and profoundly beautiful sequences in all of Dumont’s work. It is a sequence that begins with an act of penance and builds to the long-delayed meeting between Hadewijch and a grubby-faced construction worker (Henri Cretel, who was the cuckolding friend in Flanders) labouring on the convent grounds. Like so much in Hadewijch, what happens between them can be seen as something entirely of this world or as an act of divine intervention. Either way, it reaffirms that Dumont himself is a cause very much worth believing in.' -- Scott Foundas, Cinema Scope
----
*
p.s. Hey. I want to say that d.l. Jheorgge's recent show of enthusiasm for Dumont's work is what nudged me to put this post together, so thanks go out to him. ** Jake, Hi, Jake! Always a pleasure. Life on my end isn't bad, a little stressy and disorganized, but mostly nice. How about on your end? What's new and going on? ** Oscar B, It was too cold, ultimately. Let's plan. Oh, and I want to see if you'll accompany me to get the Buche today, but I'll call you in a bit. ** Chris Cochrane, It's super cold here too. Hopefully, I'll be acclimatized. How lo-fi is it? Like really lo-fi? Well, I've been trusting Ish's and Ben's judgement on this, and, yeah, well, punkier, I guess? I'm still sorting out the length of my NYC stay. As long as I possibly can afford. I'll know for sure fairly straight away. Feel better, man. ** David Ehrenstein, They said we were going to get snow today, but it's raining. Paris is always a beaut, but rain is the least special effect. But their awkwardness with their phone/ cameras make them seem so ... vulnerably human, don't you think, ha ha. Yeah, the 'Tree of Life' trailer is amazing. I'm so excited, I can hardly stand it. I'm guessing it will premiere at Cannes since it opens in May. That would make the most sense, I guess. I think you know that 'Providence' is in my top 5 all-time favorite films. It had a real influence on my new novel too. ** Sypha, Well, hopefully you are feeling better and the sinus infection symptoms are a ruse. Oh, I'll just go ahead and tell you that the post goes up a week from tomorrow aka Friday, the 24th. Since I'm taking Xmas day off, that'll give it a long weekend, which seems good. Hope that works. ** Bernard Welt, You on school vacation yet? ** Craig, Hey. Oh, it was Kiddiepunk! Aka Michael Aspen Taylor. Actually, since that post, he's changed his name legally to Michael Salerno. Anyway, he's my neighbor now since he lives here in the Recollets, so I'll alert him today if he doesn't see your comment. Any message I should tell him? Did you want one of his books, or ... ? Yeah, you're right: cleaning day used to be Tuesday, but they switched it to Wednesday six months or so ago, and, weirdly, they forgot to clean my room yesterday by some fluke, so my exile this week is going to take place today. Anyway, good memory, man. Oh, my email is dcooperweb @gmail.com. Good day to you. ** Jon Reiss, Hey, Jon! Oh, on the prices, it depends. If the escort is Europe based or nearby as in, say, the case of Turkey, it's Euros. If they're in the States, it's dollars, obviously. When the escorts are in, say, Russia or India or the Middle East or Mexico or South America, for instance, their prices are almost always in dollars for some reason. So, I'm guessing '88 Blocks to Tiffanys' isn't something I'm going to be able to find on youtube or via torrent, right? It sounds fascinating. I love that kind of thing. How are you? What's new? What's Xmas looking like? ** Jeff, Hey. No, the side-scrollers don't bother me at all. In terms of the height fear thing, I mean. It has to be pseudo-real-seeming, i.e. '3D'. That's really interesting and true to my experience about how you feel unlike yourself when playing games. I was working with that in 'God Jr.' a bit. I like that aspect of playing too. It's one reason why videogames are so relaxing, I guess. Thanks a lot for that cave/Koopa tip. I wrote it down. I need all the tips, walkthroughs, and cheats I can get when I play games. I really mostly just like to wander around in them, albeit on the preordained path. I've read about 'Epic Mickey, yeah, and I've been really intrigued. You've pretty sold me on it. It really does sound like it's completely up my alley. Thanks, Jeff. ** Allesfliesst, Ha ha, I usually get complaints that there aren't enough muscles. Glad to get support re: my support of wussies. The muscled escort set happened to be unusually on the ball with their profile texts in the last month. So, I'm imagining you'll start applying for the prof jobs soon, right? Are you thinking of making the job transition when the new contract expires, best case scenario? ** Brendan, My dirt is your ... mud? No, your dirt. It's your dirt as much as it is mine. I ended up using 'Nurse' as the title of that porn film I wrote and that will probably never get made. It seems to be a cursed title. ** Steevee, Wow, a total hacking assault. Sorry, man, and I'm glad you got through it without untold expense. Jesus. I guess it makes sense that the Herzog doc would be rather conventional. I had been wondering how in the hell someone gave Herzog the opportunity to work in 3D, but if it's the kind of film that would have a long, lucrative life on naturey cable TV, that would make sense. ** Killer Luka, 'Raw' ... I'll find it. I think I've seen a 'making of' clip from that porn. I distinctly recall a shackled MP being powder-puffed and so on. You have, like, the ultimate cool mom or the ultimate cool offspring/ parent relationship kind of thing going on, at least on a verbal level. ** Misanthrope, Yeah, the escorts were a bit more healthy and less weird-eyed/suicidal seeming this month, so it makes sense you'd like them more. Luck of the draw. If Leo DiCap puts on any more weight, his head is going to be sailing through the air past Macy's next Thanksgiving. I think what I have is more good powers of concentration than excessive energy. I'm like people who work really well on assembly lines or something. Good luck with the doc today, man. ** L@rstonovich, Ha ha, I was, but, in that case as in the current case, someone else figured out the tech so I could do that, and he showed me how to do it for future reference, and it went in one eye and out ... wherever. I'm an old fashioned guy deep down. Anyway, I'm going to memorize the trick this time by hook or crook. There's another one up? I'm behind. It's okay, though. I like long walks. If only -2 degrees liked my long walks. ** Shannon, Hey, S. How come you can't sleep well? Is it stress? I slept shittily last night for that very reason. Anyway, you're always my escorts posts' ideal audience. Well, you and me together. I'm like the posts' cook and butler, and you're their connoisseur. Or something. See, I told you I didn't get enough sleep, ha ha. You doing anything Xmas-wise, or anything that you're looking forward to particularly? ** Magick Mike, Hey, 10,000 words is good. That's one of those 'it's going to work/ happen' benchmarks: 10,00 words. I mean it is for me. But then my novels can sometimes be just a hair over 10,000 words long, I guess. What's going to happen with that finished novella? I hope you're going to publish it. ** Dusty Rose, Hey, Dusty Rose. It's a fine thing to see you. Yeah, I guess there was more uncut cock displayed, wasn't there? Generally 90+% of the escorts in my posts are uncut due to their European and further flung heritage. It's just hidden usually. Me, I can go either way. Cut, uncut ... whatever works. But I'm an ass 'man'. Anyway, sorry, I'm rambling due to insufficient sleep. The ones with feelings are the cutest. I think so too. So, how are you? What's going on? Tell me. ** Alan, Hey. Yeah, but I'm not the novel's target at the moment. Here's what I would do. Change it to 'Casual Encounters' for the sake of getting an agent and/or publisher because I think you're right that it's a more agreeable or whatever title. Then, when you get the agent/ publisher lined up, and if you're still favoring the old title, tell them you want to change the title. Maybe they'll go, Sure, no problem. Or maybe they'll say, No. Either way, you can't lose because both titles work just fine, I think. In any case, hold off on stealing 'French Hole' for at least next few weeks. (Not that I thought you were serious, but just in case.) I might need it. ** Math, Hey, pal. Yeah, 'Last Days of Disco', super awesome. Do you know Stillman has actually made a new film? It's finished and everything. David Ehrenstein linked to a very good article about him/that here a while back, but I don't have the link anymore. Cool news, no? No, I wasn't joking about the title. Is 'Try' more commercial than 'Evol'? I really can't tell. Me, I would read a novel called 'Evol' before I'd read a novel called 'Try' in a heartbeat. ** Creative Massacre, Good on the sleep. Maybe your insomnia got passed on to me, ha ha. No, I'm okay. That collaboration sounds totally cool. Really exciting. This artist Mike Kelley and I were going to collaborate on a goth musical back in the '90s, but we never ended up doing it. I'll be very interested to hear more about that as it develops. And a big phew on your mom. Frozen shoulder, weird. Wow, that's a relief. And just in time for Xmas and all that. ** Bill, Okay, confirmed, I'm going to avoid that Taymor film except for maybe Whishaw clips because I really do feel like I should see him move and talk. But he's yours, man, no matter what happens. ** Okay, that's it. Bruno Dumont is one of my fave contemporary French directors or rather directors in general. Check him/ his stuff out. See you next time.
No comments:
Post a Comment