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 renowned hits to movies that intentionally alienate the viewer. Twenty-first-century France is a big 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 leading edge 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 comparable to Vincent Cassel and Jean Dujardin. studying dozens of step 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 prime movie artists, Brutal Intimacy grants to be an influential remedy of French cinema this day, its evolving competition with Hollywood, and its bold objectives of audiences in Europe, North the US, and around the globe.
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Additional resources for Brutal Intimacy: Analyzing Contemporary French Cinema (Wesleyan Film)
35 An obvious objection to the film’s youthful sympathies is to dismiss its protagonists as stereotypically disaffected, rebels too apathetic for a cause. Anticipating this more cynical reading (perhaps from an older viewer), Doillon inserts strategic cues for reflection, social contexts to France’s disenfranchised younger generation. One scene is pointedly didactic. Before her work placement begins, Elodie drifts into conversation with a classmate, who attacks the training scheme with dispassionate gusto: “Frankly it’s completely idiotic— even if a guy does a three-month internship, he won’t find a job because he’s got no experience.
How does Doillon’s work represent contemporary France’s debutant cinema? Two major strands emerge from her short films alone. Majorettes is a fifteen-minute film which intersects three remarkably deadpan mininarratives about a disaffected group of young teenagers—boys who play soccer and girls who cheerlead the matches—showing each gender faction lying and calmly manipulating friends and family to attract would-be boyfriends or girlfriends. ” Coupled to this pro-youth declaration—as important to young French cinema as it is to Doillon—is the premise of Déjà fait.
Doillon also maps out the attraction-repulsion dynamic between different genders during the teenage years; the intersections between burgeoning sexuality and social-peer pressure; and, most forcefully, the inconstancy of friendships, especially between girls, as boys intervene and then inevitably recede. 27 Also emblematized by this preface is another key part of young French cinema—its (quasi-sociological) treatment of the adolescent milieu, youthful pursuits and youthful pleasures. For Antoine Doinel in The 400 Blows these were highly active pastimes—raucous misbehavior with classmates, visceral glee at the fairground and in the movie theater, physical flight from teachers in the streets of Paris or by the sea—whereas Julie and Elodie, twenty-firstcentury young adults, inhabit a static, highly technologized mise-en-scène.