The body is no longer the barrier that separates the
thought of himself, it must overcome in order to
think. On the contrary, is that in which thought plunges
or be submerged in order to achieve the unthinkable, ie, life
Gilles Deleuze. Image
time
Deleuze had already noted the existence of a group of filmmakers who began to give preponderance to the body, their attitudes and positions, because they realized that through them, were elucidated categories of life. These filmmakers of the body between which Cassavetes and Garrel is ecuentran somehow opposed to the mind as filmmakers Harun Farocki and Alain Resnais. French filmmaker Philippe Grandieux could be placed in the interstices of these two as their work moves between physicality and intellectuality, between the physical and mental. The rough and disturbing Grandieux work is undoubtedly closely connected with the works of other "extreme contemporary filmmakers" in which corporeality and intellectuals also have attachment points in Bruno Dumont's L'Humanite (1999) , Gaspar Noe of Irreversible (2002) or only against any s (1998) and Claire Denis with cannibalistic Trouble Every Day (2001)
His films are a sensory and emotional experience, more close to video art that conventional narrative cinema. formal experimentation that flows from the screen: tremors, blur, broken figures, fast mounting, no more than a search for representanción of terror and fear anything that takes us from Dreyer and Murnao to Haneke and Polasnki. Brenez Nicole said that his films: c onstitute the Most Advanced cinematic point of research, for today Representing What the films of Jean Epstein Were for the 1920s and '30s or Philippe Garrel's Were for the '70s and '80s [1]. That interest Epstein to make a visual film, full of emotional intensity that relfejase the subjectivity of the feelings of the individual, is the same curiosity that shows Grandieux in his works, a sense of the camera revealing just disturbing the individual conscience. His films often move from an unlikely bond that combines elliptical and fragmentary Robert Bresson and abstract lyricism and visionary Stan Brankage.
; Elina Lowensohn Tears in Sombre (1998)
In Sombre (1998) from the very beginning, Grandiuex, puts us in the territory of the blue funk with that theater full of screaming kids scared compared to what is shown on the screen. Moment that reminds us, not haphazardly, another beginning, The Spirit of the Beehive (1973 ), we both placed in the primitive and archaic feeling of fear: the children. And not only beginning to resemble the work Victor Erice with Sombre , in two films, the protagonist will face a monster that will kill innocent to child / sexual. However, the beast has a side Grandiuex inquientante and disturbing, as a sexual psychopath. Sombre proposes a rereading of the myth of beauty and the beast near masochistic vision plasma Baleria La bete Borowczyk. Sombre end, however, is far from reflecting a position misogynous and contempt for women, because as Bataille said In his celebrated essay the field of eroticism is essentially the field of violence, rape. That the beautiful Claire (Elina Lowesohn) after saving and rescue his sister, Christine, decided to meet again with the beast to be owned and "desecrated", reveals, according to Bataille, that: the ultimate meaning of erotimo is death.
And is sexual union between Eros and Thanatos, the man and woman, humanity and animality, present in Sombre creates a logical relationship to films like Picnic A (1936) Jean Renoir, Both English and love (1976) Francois Truffaut, or Bisfully Yours (2002) of Apitchpong Weerasethakul, because as pointed out by Adrian Martin: In all of them, [...] sex is associated with sexual violence of the encounter between man and woman, the initiation and deflowering, and blood flow [...][ 2]
And is sexual union between Eros and Thanatos, the man and woman, humanity and animality, present in Sombre creates a logical relationship to films like Picnic A (1936) Jean Renoir, Both English and love (1976) Francois Truffaut, or Bisfully Yours (2002) of Apitchpong Weerasethakul, because as pointed out by Adrian Martin: In all of them, [...] sex is associated with sexual violence of the encounter between man and woman, the initiation and deflowering, and blood flow [...][ 2]
Tears Silvia Bataille A game of field (1936)
In La vie nouvelle (2002) , her characters exude a greater animality which combined with sexual violence are stark and pessimistic vision of the human condition. Grandieux filmed the bodies of a perverse relationship between a tourist and a prostitute, which the French director takes us on a whirlwind of sensations and emotions that produce high impact and rejection. La vie nouvelle presents a more abstract narrative about Sombre, a sensory maze just passing on a huge anxiety and vertigo in the viewer. My dream is to to create a film ist Completely Spinoza, built Ethical categories: rage, joy, pride, ... said in an interview with Nicole Brenez. The camera of Grandieux aa stick bodies literally, fragmenting, giving the film a feeling anxious and oppressive, which has its climax in an orgy of bodies misleading, recorded in the deepest darkness with a thermal camera. Their bodies were hysterical with Cassavetes and Garrel Phileppe hieratic are reduced to the mere expression afternoon heat in the bodies of Grandieux
A lac (2008). is a timeless story of a family living alone and isolated in a mountainous area with abundant trees and vegetation in northern Europe, a couple cold and snow, which is near a large lake. But nevertheless despite this idyllic spot forest, has a vision violent and savage vision of nature, next to the devilish design of Antichrist (2008) Lars Von Trier or Grizzly Men (2003) by Werner Herzog. The emergence of a weird guy to be introduced within the family, eventually leading to the outbreak of feelings that were kept in a dormant state. In fact the character "messianic" Jurgen (Alexei Solochev) has some of the visitor Terece Stamp starred in Theorem (1968) Pier Paolo Pasolini , the two end up creating confusion and disruption in the host family. The rage and desolation that just transmitting the forms Grandieux shooting in the film, moving between the wrath of the abstract expressionism of Jackson Pollock, the dark and murky Georgl expressionist poetry and lyricism Trakl Stan Brakhage violent.
The end of a Lac is a perfect match between the work of three artists, a scene which echoes Dog Star Man: Part I (1962) , Number 31 and Passion poem.
The end of a Lac is a perfect match between the work of three artists, a scene which echoes Dog Star Man: Part I (1962) , Number 31 and Passion poem.
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The pond blue / green is lost under the tree / shade following the sister of a dark love wild strain / day fleeing the gold wheels / 1.
2. MARTIN, Adrian. "Grandiuex in the underground." Film Archives. No. 55 (February 2007). Pp 170
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