![]() ![]() ![]() But in the end, it is still and always about excessiveness, for a baroque filmmaker, with exploding singularity. Holy Motors (2013) and Annette (2020) tell stories of our time that only cinema seems able to take on, moving from a story around a hypothesis of a schizophrenic, performative and virtual fictional character, to the planetary success of an improbable child endowed with extraordinary vocal qualities. X? The production of the aptly named Pola X (1999, unreleased in Canada), almost ten years after the incredible adventure of Les amants du Pont-Neuf, outlines the beginnings of a response and digs a path in which his two other films are engulfed. These abundant references question the identity of the author and his singularity. Hergé is a claimed reference in the same way as a certain rock posture venerating Bowie, Iggy Pop or Scott Walker, while The Rita Mitsouko explodes. His contemporaries are Jean-Jacques Beineix or Luc Besson, he knows how to create strong images that seem to stand on their own, but unlike his contemporaries, he is closer to Cocteau than to Carné or to Godard than to Lelouch. Plays out the notion of the forces of light being inexorably drawn to those of darkness, of the older generation betraying the younger and maybe even an. French Gothic is quite the insidious aesthetic, and POLA X might be the Frenchest thing ever made.When Alex Dupont aka Léos Carax made his first film, Boy Meets Girl, he was just 24 years old. The film is at once breathtaking and ridiculous, and its the tension between these two extremes, as well as Caraxs own intoxicating style, that makes it essential viewing. His sensibilities are most definitely that of a stereotypical French painter. The best, most expensive student film ever made? I think Leos should have been a painter. Undisciplined, instinctive, unhinged stuff like this needs to exist. ![]() And yet definitely beguiling, indelible, and idiosyncratic. Definitely can understand why any producer wouldn't be caught dead giving this madman a cent for the rest of his career. Definitely the most miserable, thoroughly unenjoyable and oppressive film I can remember. Definitely nihilistic, mean, cynical and ice cold. Definitely infuriating, overlong, inconsistent and borderline unwatchable. Definitely beyond excessive and self-indulgent. Definitely the most audacious literary adaptation of the past twenty years alongside BEAU TRAVAIL – also French/Melville (can we get that Lynne Ramsay MOBY DICK-in-space joint already?!). Definitely still the most batshit insane piece of cinema with god-level location scouting not named POSSESSION. ![]()
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