Synopsis “Jeanette” is a musical drama based on Charles Peguy’s play “Le Mystère de la charité de Jeanne d’Arc” (1910). It focuses on the part of Peguy’s play that deals with Joan of Arc as a child, from age 8-12, when she started to embrace her sacred mission.
Coincoin and the Extra Humans review: Bruno Dumont raises a stink in a small town
| Sight & Sound
Ben Nicholson 15 August 2018
There was something rotten in the soil of northern France in Bruno Dumont’s blackly comic mini-series, P’tit Quinquin (2014). A four-episode television mystery that was also released as a single feature film, it was a confounding and macabre parody of a procedural police drama filled with unexpected (for the famously serious filmmaker), and often uncomfortable, laughs. It followed a bumbling duo of gendarmes as they investigated a sequence of grisly deaths in the environs of a small town as a group of mischievous kids, led by the eponymous Quinquin, watched on. Read More »
With every film he makes, Dumont seems to delve deeper into a humanity that, in its connection to nature in all its mystery and force, is a deeply conflicted one. In “Hors Satan”, the division of what is good and evil and how it relates to the man we encounter at the start of the film, is somewhat less clear-cut.
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Is there a more extraordinary auteur career than that of Bruno Dumont? Having started as one of Europe’s foremost purveyors of extreme cinema and extreme seriousness, he made a startling move to wacky broad comedy, and is handling it as if to the manner born. Now he gives us Ma Loute, or Slack Bay, a macabre pastoral entertainment by the seaside from the belle époque: it’s an old-fashioned provincial comedy with something of Clochemerle, a world in which everyone seems to have drunk their bodyweight in absinthe. There’s also the surreal meta-strangeness of Ken Russell’s version of The Boyfriend. Read More »
A clueless police inspector stumbles his way through a provincial murder investigation, in this shocking — and shockingly funny — change of pace from premier French auteur Bruno Dumont (L’humanité, Hadewijch).
Originally conceived and broadcast as a four-part miniseries, Bruno Dumont’s P’tit Quinquin works seamlessly when screened in its cinematic version.
Dumont has again chosen to shoot his new film against the countryside of his birthplace, the Boulonnais region around Calais; apart from that, the film marks a notable change in tone for this immensely creative filmmaker. (Well, it does share one other thing in common with his earlier films: like L’Humanite, the film centres on a police detective investigating a murder.)
P’tit Quinquin is — believe it or not for those who have been following Dumont’s career — a comedy. Little prepares you for the adventure, rollicking and slapstick, in this idiosyncratic screwball of a film. Chuckles abound — at times you can’t quite believe what you are seeing — but, not surprisingly in the hands of a director who has always managed to keep a firm, controlling hand on his material, the film never spirals into silliness. Wit and intelligence prevail. Read More »
The sculptor Camille Claudel – sister to the poet and diplomat Paul Claudel, and former lover of the sculptor Auguste Rodin – is sent away by her brother and mother to to be committed in the Montdevergues insane asylum, where she is stripped of her freedom to create and condemned to live among the mentally ill for the rest of her days. The film takes place over a few days as she waits on her newly devout brother Paul to visit her. Starring Juliette Binoche, Jean-Luc Vincent, Emmanuel Kauffman.
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Winter, 1915. Confined by her family to an asylum in the South of France – where she will never sculpt again – the chronicle of Camille Claudel’s reclusive life, as she waits for a visit from her brother, Paul Claudel.
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