Le film français: La Vénus à la fourrure

My current appreciation for everything French, as well as being halfway to achieving A1 level in la langue française (yeah, pathetic, I know) has led me to a point where I spend every Sunday watching a film of French production.

However, this recently discovered obsession of mine has nothing to do with this post – at least, this is what I would like you to think. 

The concept of auteur cinema, culturally exceptional, art-house film is something the French had implemented right after the World War II and what made them famous. For me, among the list of other arguable important virtues, these are the films that are shamelessly bold and audacious. Films that talk sex and money, and power, and politics, and suicide in the way there are a lot for the viewer to look for between the lines. Paradoxically, women in French cinema do not wear makeup in the morning and look stunning in their natural gorgeousness. Paradoxically, a film of two actors and one location does not fail to catch our attention. 

Unbelievably, a past Broadway success, ex-classical novel turned into a script outshines any rich and fat, every single breath on screen carefully planned by financial advisers, hair dyed one-hundred times to reach a perfect hue films.

Roman Polanski's La Vénus à la fourrure might not have that Palme d'Or thing but it certainly has something absolutely worth your evening.

In the end of his tiresome day a middle-aged director is exasperated to the max been auditioning allegedly talentless actresses for the role of Venus in a play based on the Leopold von Sacher-Masoch's novel Venus in Furs. When Vanda Jordan arrives late behind our eyes unrolls a scene of a powerplay between a director and an actress, a man and a woman, a master and a slave who are constantly changing places, the suspense is built so fast that you might lose a track. 

But do not expect to see some 50 Shades of Grey twin brother there: Venus in Fur may seem a sado-maso porn as Vanda notes in one of the dialogues with her male counterpart, but in fact, not only it is smart but it is actually the acting that makes it mandatory watching for any cinephile. It is all about how these two bring their pervertedly extraordinary characters to life with theatrical brilliance. 

Directed by Roman Polanski
Starring Emmanuelle Seigner, Mathieu Amalric

  

Wearing Skirts For Gender Equality

It has not all settled down yet, the ongoing turmoil around the Eurovision winner, mostly that particular gender expression of hers, when this Friday schoolboys in Nantes (Western France) have attended their studies in skirts. What's even more noteworthy here is that it was a campaign for challenging sexism.  

Now, had it happened in my country that is struggling to made its way to the EU (it's Ukraine, in case you didn't know)...the thing is that it would have never happened here. The mere suggestion would outrage all of the devil's BFFs – far-right wing and religious freaks, as it did in France, actually. Malheureusement, they would surely outnumber the French.  

In case you are still whining about the situation with the the gender equality and discrimination in your country (and I'm not mocking it), you should really know that anti-discriminatory law has only been passed few days ago. Furthermore, it does not say a word about the discrimination based on sexual orientation and is generally quite ambiguous, which is totally intolerable for a legislation of any sort.

Surprisingly how, even when integrated into Western world to some considerable extent through my current job, media and pop culture products consummation, living here forces me to get amazed when my fellow student makes a speech on gender inequality at our Rhetoric class. And it does amaze everyone else. 

The aforementioned schoolboys have faces a crowd of angry opposition. Yet, it failed to stop them. Neither did it stop vast majority of EU citizens from believing sexism and stereotyping based on gender to be rather disturbing.  

It is essential, however, that you don't get the wrong impression here. I do not think the war is over in the West in terms of reaching social equality. Still, I can't stop wondering what could have possibly prevented us from getting same rates so far. Perhaps, it is about time and we will get to that point eventually, but for now what is left for us to do is keep bringing these issues up whenever we can for them to begin at least sound commonplace.   

MOVIE: ONLY LOVERS LEFT ALIVE

Jarmusch's new vampire drama (god, how pretentious it sounds) has made a lot of fuss in Cannes, Toronto and the rest of the world. While film description places it along with those cliche «vampire movies», so we expect it to obey certain rules and norms, like shallowness, for instance or saliently poor acting, with the opening credits you will reject that hypothesis. Only Lovers Left Alive has it all: exquisite visuals, thought-provoking dialogues, breathtakingly talented actors, in one word - every ingredient to produce a tasteful auteur movie.

Not only there are vampires but they have also got love on their minds and stopped eating, or shall I say drinking, mortals. Does that sound corny? Yes, it does. A lot. Put something on and hurry to the nearest cinema because instead of sickly-sweet you will only see refined and smart.

The storyline in Only Lovers Left Alive is built around a centuries old couple named Adam and Eve, talking in grandiloquent manner and dressed painfully stylish. It is indeed melodramatic enough, yet there is a thin line between Shakespearean melodramatic and mawkish teen movies about vampires. Frankly, I'd go as far as to say this is one of my favourite love stories on screen. Adam is a depressed and reclusive musician tired of meaningless existence of those around him (read mortals). His journey through hundreds years marked many ground-breaking events in both science and art, but now he's experiencing excruciating annoyance witnessing the collapse of human civilization. Even though his wife Eve lives miles away in Morocco, their love is probably the only thing that's keeping him sustained. Well, except for the blood, I suppose. Given that Tilda Swinton is an ethereal creature herself, her Eve is enigmatic, wise and unruffled. Tom Hiddleston, on the other hand, with his posh accent and eyes only genuinely depressed person may have, and I treat it as a medical term here, is a quintessential Hamlet.  

The director negates the mere concept of narrative here. The characters do not pursuit an ultimate goal, as it should be. Instead, their life is based on solving day-to-day issues, mostly connected with food supplies. This technique, however, serves to accentuate the visuality of the film. Sometimes it gets dangerously close to noir, nevertheless, it is romantic to the core. The viewer is to elicit a lot from the way characters dress, the place they are living in, the cities they travel to. Time cease to exist in Only Lovers Left Alive not being important at all. What matters here really is a chance to look at yourself from that very angle that uncovers every flaw.

  In fact, there is a lot of word play, intelligent and not at all subtle, as well as allusions of all sorts. Jarmusch's triumphal comeback is like usual – a must see, artful with a long-lasting aftertaste. The cinematic world, as we all know, always has its own set of rules, however, the world of Only Lovers Left Alive is strikingly real, pushing the viewers out of their comfort zone through tackling some burning issues. “What are we gonna do now”, - consequently the characters ask themselves the question at some point.

MOVIE: YVES SAINT LAURENT

Having heard that the new Yves Saint Laurent biopic hit the stores was in the movies already, I rushed to book a ticket. While my expectations always run high with French cinema, this time I was left completely puzzled, and I mean it in a good way. Does it surprise you when I tell you that this year there would be two such films, both set in France. Well, it wouldn't amaze me, that's for sure, with all the ongoing fuss around embarking on a new journey and getting rid of old. Naturally, I refer to the fact, we are no longer able to see Yves on a brand's logo. I leave the judgments to you (once you are aware that the man himself has done the same, his name to difficult to pronounce for the rest of the world), as I should mention, if I may, that having the name on a cinema poster automatically means a fashion movie. Turned out, it wasn't at all that simple.

Back in the 60s, Yves Saint Laurent was 21-years old and head of Dior, at the same time neurotic and insecure, as his business and love partner Pierre Bergé recalls. The film does a great justice to all the majesty and grandeur of his designs: from taking on Dior and transforming it, to the revolution of Le Smoking and...well, there has been a lot of ground-breaking actions. What still may strike, if you do not dare call yourself a particular fashion lover, while that does not mean you will not be enthralled by the gorgeousness of the clothes, you will find yourself involved because Yves Saint Laurent adheres to the traditions of love story, emotional turmoils of youth and a life long journey of a person so far from commonplace or low-maintenance. 

Yves Saint Laurent and Pierre Bergé

YVES SAINT LAURENT 2014

There is nothing redundant and, consequently, shallow or sickly-sweet, as every action, hue and word are rich in subtle implications. When the relationship between Yves and Pierre emerge, we see nothing but deserted streets, where nothing and no one matters anymore, except for those two.

Yves Saint Laurent has, in fact, what it takes to be called an auteur film - it's a visually stunning picture in a way only French cinematographers are capable of with some quite drastic turns in the script and incomparable acting. Surprisingly enough (I feel like shouting "Thanks God" there really), the dialogues are not grandiloquent, although you would surely expect it in biopic. Actually, the greatest achievement of the cast and the crew is that of focusing on Yves personality rather than creating a flawless genius type that is so remarkably different from us, mere mortals. I loveв that he was alive on screen and I was able to believe the things he have been doing and saying.

YVES SAINT LAURENT, 2014

YVES SAINT LAURENT, 2014

That's why, hats off to Pierre Niney (Yves) and Guillaume Gallienne (Pierre) whose acting was immaculate, and more importantly, painfully sincere as it happens so rarely when both love story and famous people involved. They were not being placid when there were no cue left, but managed to show what's inside their characters perfectly.

YVES SAINT LAURENT, 2014

Does it astonish you then, that  Pierre Bergé approves of this film greatly. For me this is a point added to the credibility of the whole story, isn't it?

MOVIE: Danish Film Classic: Carl Th Dreyer's The Word (Ordet)

This February I have joined a great course on Scandinavian cinema and television and Coursera. That's why I'm sharing this short essay on Carl Th Dreyer, one of the most outstanding Danish film directors. For those of you who are not quite familiar with Scandinavian cinema I may as well add that they are known primarily for auteur films, independent, deep and emotional. The movie I'm writing about - The Word (1955) - was awarded with a Golden Lion at Venice Film Festival. The extract analyzed in my essay is posted below. 

The Word's style bears distinguishing features of his earlier works, namely, slow camera movements, long takes and depressive atmosphere. What helps The Word engage the audience, however, is compilation of several things: dealing with very common issues such as an anticipation and initial fear of death and tackling very ambiguous topics, in this case, religion. Having taken to consideration general slowness and lack of dynamic action we may see how this particular film rhythm provokes the viewer to stop, think and therefore sympathize. The lasting aftertaste is created by a one of the most efficient marketing technology – as we would say had the director been our contemporary – give them problem and then hope for solution. The characters have to deal with the worst – but later the miracle occurs. Moreover, there is nothing irrelevant on screen, every shot is constructed precisely to provide certain information, e.g. when Johannes talks to the child there are pale walls and the clock which I believe is aimed to emphasize the fluidity of life. The way people act and, of course, they must have been instructed to do so by Carl Th Dreyer himself is quite remarkable as they add up to deliberate slowness with things like Inger's daughter smile emerging on her face in a very slow-motion replay style. The final scene is extremely tense in the beginning, yet it ends happily with the family being reunited and characters being given answers on whether or not they should have faith, much like the audience actually. “The end is to enrich one’s fellow human beings by engrossing them in an emotional experience they would not otherwise encounter.”, said Carl Th Dreyer about The Word and it is probably the best explanation of its success. 

MOVIE: Это "Далласский клуб покупателей" - присоединяйтесь

«Далласский клуб покупателей» появится на украинских экранах с 13 марта, но уже наделал немало шуму, в том числе и в Академии кинематографических искусств и наук (это те, что Оскары раздают), да так, что рискует получить целых 6 статуэток.

 Биографическая драма Жана-Марка Валле на первый взгляд об эпидемии СПИДа в середине 1980-тых, на самом же деле — о том как встретиться лицом к лицу со смертью и выйти из схватки с заведомо плохим концом победителем, а не побежденным. Когда Рону Вудруфу, электрику из Техаса, неожиданно ставят диагноз от которого кровь стынет в жилах и обещают максимум 30 дней жизни выбор у него, скажем так, небольшой. Можно остаться медленно умирать в пространстве белых больничных стен, можно попробовать бороться не только в болезнью, но и бюрократической системой заодно, ведь лекарств для многочисленных больных не хватает. В течении двух часов экранного времени Рон Вулдруф (Мэттью МакКонахи) собирается совершить удивительное путешествие от пьяницы, гомофоба и, в общем, техасского электрика, чего уж тут скрывать, до человека, спасшего жизни многих людей. Пожалуй, самое интересное в этой истории то, что ни один отравленный чувством собственной важности критик не сможет обвинить фильм в несоответствии критерию реалистичности — все это произошло на самом деле.

Получив бюджет в размере смешных (по голливудским меркам) 5 500 000 долларов (для сравнения минимальный бюджет для мэйнстримовых фильмов обычно составляет 60 млн) в распоряжении у съемочной команды было 25 дней. Для полноты картины замечу, что сам МакКонахи в одном из интервью поведал следующее: «Я осваивал новый способ создания фильмов. У нас не было освещения, всего одна камера и дубли длиной в 15 минут» (I was riding a new way of making a film. There were no lights, one camera, 15-minute takes). Даже озвучки не было — все записали во время сьемок. Каким бы странным это вам не казалось, фильм от того только выиграл. Камера под чутким руководством Ива Беланже немного нервная, дрожащая и это тоже часть рассказанной истории. «Далласский клуб покупателей» не является документальным фильмом, но именно этот прием позволяет забыть, что смотришь ты отнюдь не реалити-шоу.  

Подобные спартанские ограничения в любом другом случае могли привести к плачевному результату. Но только не в случае, когда на площадке собираются мастера своего дела. Только представьте: нет времени на репетиции, никаких перерывов между дублями, к тому же 15-минутный дубль как в лучших традициях эры немого кино как бы намекает, что лучше отснять его с первого раза, света нет, но выглядеть он должен идеально (это им удалось — скоро сами удостоверитесь), короче говоря, промахи исключены.  

Если говорить про образ Рона Вулдруфа, то он не только трехмерный и сложный, но и невероятно яркий и колоритный. К слову, Мэттью МакКоннахи как раз и был актером, получившим одобрение сестры настоящего Рона Вулдруфа. Поскольку сценарий находится в разработке с 1992 года несколько лет назад на роль пробовались Бред Питт, Райан Гослинг, и не только они. Джаред Лето не собирается изменять своей старой доброй привычке играть редко, но метко. Вы помните хоть одну его посредственную роль? Я тоже что-то не вспомню. В «Далласском клубе покупателей» его персонаж — транссексуалка Рейон — переживает весьма трагичную историю. Критики не устают хвалить мастерство перевоплощения мистера Лето и я с удовольствием к ним присоединяюсь.   

В целом, картина очень живая, здесь нет случайных кадров, ненужных диалогов - каждый момент созвучен тому, что хотя бы раз переживал каждый зритель. Нет, это не совсем кино выходного дня, оно по-хорошему грузит и остается в голове, благо какой-никакой хэппи-энд позволяет не сделать из себя посмешище разревется. Впрочем, почему какой-никакой? Все же, один обыкновенный человек в конце побеждает.

MOVIE: Lovelace: When The Curtain Falls

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