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By Tim Palmer

Brutal Intimacy is the 1st publication to discover the attention-grabbing 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 a massive resource of overseas cinema--diverse and dynamic, embattled but prosperous--a nationwide cinema delivering anything for everybody. Tim Palmer investigates France's transforming into 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 reminiscent of Vincent Cassel and Jean Dujardin. examining 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 best movie artists, Brutal Intimacy supplies to be an influential therapy of French cinema this present day, its evolving contention with Hollywood, and its bold objectives of audiences in Europe, North the United States, and world wide.

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Sample text

Coupled to this pro-youth declaration—as important to young French cinema as it is to Doillon—is the premise of Déjà fait. This micro-short, a single long take of eighty-six seconds, shows a young man (Zinedine Soualem) sitting outdoors at a table, surrounded by books, trinkets, plants, and cds. 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.

The word lesbian is never spoken, no Young Cinema and First-Timers 37 Marie and Anne (Louise Blachère) in the final shot of Water Lilies ramifications of the act unfold: the girls instead wordlessly make the bed; Marie murmurs, “Wait”; Floriane replies, “I have to go,” and leaves. ”48 So what takes the place of dialogue, for dramatic exposition? Water Lilies returns repeatedly to highly abstracted patterns of bodies in motion: teenaged activities represented as densely lyrical, expressively charged routines, often derived from extended passages of swimming and dancing.

Which neatly presents the deadline of the plot. The long take, Doillon’s thesis shot, continues. On the third flight of steps, both girls’ expressions abruptly change (Elodie glances up nervously and gnaws at her lip; Julie sighs heavily, frowning) as from off-screen right Kevin struts confidently into view. ” and she tells him to “fuck off”) but is the object of Elodie’s nervous desire. As Kevin arrives mid-frame, moreover, the choreography of Doillon’s mobile frame, its deft use of on- and off-screen space, offers new points.

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