Brutal Intimacy: Analyzing Contemporary French Cinema by Tim Palmer

By Tim Palmer

Brutal Intimacy is the 1st booklet to discover the interesting motion pictures of up to date France, starting from mainstream style spectaculars to arthouse experiments, and from wildly well known hits to movies that intentionally alienate the viewer. Twenty-first-century France is an important resource of overseas cinema--diverse and dynamic, embattled but prosperous--a nationwide cinema providing anything 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 arguable cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noe, and stars corresponding to Vincent Cassel and Jean Dujardin. studying 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 top movie artists, Brutal Intimacy supplies to be an influential therapy of French cinema this day, its evolving contention with Hollywood, and its bold objectives of audiences in Europe, North the US, and around the globe.

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His consternation grows, as does the list of rejected topics—poetry, menopause, cigarettes, psychoanalysis, the effects of cell phones on the brain, the Cold War, architecture; they’ve all been done. ” Majorettes and Déjà fait wittily depict issues that are pivotal to debutant cinema, in our quintet of films and beyond. There is first the pervasive sensibility of sheer belatedness. Doillon’s early shorts proclaim how all that has Young Cinema and First-Timers 23 passed, the preceding body of (cinematic) experiences, has basically mined everything out, run the river dry, leaving a medium made banal through endless repetition.

A pen and blank stack of paper lie before him. As the camera slowly tracks in, the man gets increasingly animated, then frustrated, as he ponders what to write. Jolts of fast motion further agitate his self-diagnoses: “I’ll write about politics—no, it’s already been done. I’ll write about women—no, that’s already been done.  . Religion’s been done. Botany’s been done. Football, been done. ” His consternation grows, as does the list of rejected topics—poetry, menopause, cigarettes, psychoanalysis, the effects of cell phones on the brain, the Cold War, architecture; they’ve all been done.

For a filmmaker seeking access to a profession that historically privileges auteurs, having a seasoned brand for a surname is an undeniable advantage, the basis for a viable and well-established passage into French cinema. This is the case, taking just several among legions of examples, with directors Jean Becker (son of Jacques), François Desagnat (son of Jean-Pierre), and Julie Gavras (daughter of Costa), as well as actors Mathieu Demy (son of Agnès Varda and Jacques Demy), and Julie and Guillaume Depardieu (daughter and son of Gérard).

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