About Me

My photo
In my interests below, I list French language, cinema, theatre, politics, art, and wine. And while French brought me to a lot of these things, I also like all of them in a more general way. I really love languages and their connections. I also have a thing about how theatre and cinema, art, politics and wine all hook up in some way. As I think of these ideas, I can hear the thwonk of the cork coming out of the neck of the bottle, and the gentle squeak as the cork is twisted off the tire-bouchon. Ah, that oakey, musty, acidic aroma wafting, wafting and people talking and talking and talking. And, oh they found out we have some sets of boules and they want to play p├ętanque. "Let's pick teams and play in the shade of those plane trees." The sounds of summer resonate: the crunch of the terrain under foot, the click of the iron bocce knocking in the players' hands, and the soft kiss of the wooden cochonnet as it hits the ground scuttling down to its resting point where it will await the arrival of each team's battle-worn aggies.

Friday, January 2, 2015

Bruno Dumont a chronicler of life in the North of France

Stephen Holden's breezy but as usual well-written and thoughtful review of Bruno Dumont's latest film to come to the USA - L'il Quinquin - makes one or maybe two small but significant slips.  He says that the film is set in the extreme northwest of France, which would put it in Brittany - le "Far-Ouest"- a place of Celtic sensibility.  However, one of the significant elements of all of Dumont's work - with the exception of the Camille Claudel film - is that his work emerges almost organically from the North - the area of Northeastern France where he is from: Ballileul, Dunkerque, Douai, Lille-Roubaix-Tourcoing.  The region is the Nord-Pas-de-Calais - part of French Flanders - that means a few things: life in small towns in this area hangs between the rural and the urban, the industrial and the agricultural creating a gritty often grimy entanglement of a peasant's hard-nosed look at life cut with a working-class sense of struggle. It is also the place of carnival where larger-than life giant puppets that come out for the raucous festivities; a time when conventional hierarchies and decorum are thrown over as the kings and queens of the carnival throw caution to the wind, usurp power, and engage in lustful riotous acts.  Lastly, this region has a sense and history of incorporating the grotesque/macabre into its artwork - the deepest carnal instincts flare up in all kinds of ordinary situations. J'attends avec plaisir la sortie du film.

Alane Delhaye and Lucy Caron

1 comment:

11RosyAngulo said...

I believe that France, especially Paris is good city to combine the new and the old. Yes Paris as well as all of France has a strong history, and there are monuments to prove that, but it is fascinating to see new monuments being built into the city. I Believe that Paris, is contributing or knows how to handle the new monuments without having any trouble for a couple of reasons. Some of the reasons that I believe that Paris has that other city's don't is the fact that everyday Paris is growing in population,housing, economically wise, etc. We think of Paris being modern, with a twist of still having some history in the walls which lets this new modern monuments be able to stand in the city. France has open there eyes to a new development, and era understanding the present to create a better future and letting go some of the past. And making people see what the new France is all about. While other countries or city's have a strong connection to the past that do not want to develop into the future.