Both seized on TV 20 years ago it's a rainy Sunday afternoon. In these films you program on RTL, together with nanars between Michel Gérard, Claude Zidi, Michael Lang and Philippe Clair.
Maine Ocean, viewed and reviewed, it remains for me in many ways, "The "movie. Transborder, the rocker, the micro-event, of the imponderable. But it is light, silly, obvious, fresh. We will one day justice (well, it's already done, the better) to this masterpiece of French cinema oblique, and the century will Rozien the side of OROUET, or somewhere in the middle of the castaways of Turtle Island.
In the register "free on a breakaway," in the same family of a cinema of the "not on the side," could be cited "hot rabbit" by Pascal Thomas (then assistant Rozier), "the mountain pass" and "men's doubles," of Jean-Francois Stevenin (which, since the sad and repetitive food on television), Jean Marboeuf, a little. Rene Allio, fairly well. More recently, Manuel Poirier gave it a try, with some nice successes.
They are the ones who practiced "becoming a minority" - as the saying goes but hackneyed - the "French cinema".
Rozier is the best example. "Democratization" discrete characters, spaces and times of "small" stories, a "shift" that swarms of indeterminacy, indecision and the undecidable. Nowhere more so than in Maine Ocean, the tongue Minorisa in patois, in areas of insignificance in pockets of "not much", a sort of "foreign language which is the major language stutter", the principle of majority, and carefully tip , implode, without fanfare, to a minor sort of Babel. This film is eminently political, practical politics.
In the register "free on a breakaway," in the same family of a cinema of the "not on the side," could be cited "hot rabbit" by Pascal Thomas (then assistant Rozier), "the mountain pass" and "men's doubles," of Jean-Francois Stevenin (which, since the sad and repetitive food on television), Jean Marboeuf, a little. Rene Allio, fairly well. More recently, Manuel Poirier gave it a try, with some nice successes.
They are the ones who practiced "becoming a minority" - as the saying goes but hackneyed - the "French cinema".
Rozier is the best example. "Democratization" discrete characters, spaces and times of "small" stories, a "shift" that swarms of indeterminacy, indecision and the undecidable. Nowhere more so than in Maine Ocean, the tongue Minorisa in patois, in areas of insignificance in pockets of "not much", a sort of "foreign language which is the major language stutter", the principle of majority, and carefully tip , implode, without fanfare, to a minor sort of Babel. This film is eminently political, practical politics.
Ditto for "hot rabbit", there should be a little out of his grading scale screening where he sticks the tape as: "French film holiday. In a sense it is. Yet this is not "the hotel from the beach" or "we Small English - which in hindsight (in their time, already, of course) rather nauseating smell like the confined gogues.
"The hot rabbit" as the latest "Maine Ocean", this film would rather on "the vacancy .
The dead time of the vacancy, an emptiness that quietly insinuates the interruption of the vagus, of the eclipse. I'm not saying it's Antonioni's attention. Antonioni, it rest anyway seriously, profound, even "metaphysical".
The dead time of the vacancy, an emptiness that quietly insinuates the interruption of the vagus, of the eclipse. I'm not saying it's Antonioni's attention. Antonioni, it rest anyway seriously, profound, even "metaphysical".
Here, we do not really know where to turn. We believe the field known to the "comedy of manners to French, "then suddenly, without anyone there to take care too, there is the odd jitter in a dispersion, a strange elongation times, a de-sedimentation with small touches of micro-climatic changes.
Vacancy "shabby" worked by strong libido (Lead), and retreats, rather annoyed, to flirt - by ridiculing the time - girls a little proles. Then enter, as soft breaking in contact with their family, these little people who have a bit of ash that complexion of the SFIO, paid holidays, for whom the ultimate freedom is to go shut himself time for a song Summer camping in a trailer park in the middle of the green ... As in
Rozier, the stakes of the story is composed by progressive disruption of a territory, a principle of "flotation" of the characters and places, conducive to uncertainty about the coding and agreed divisions of class relations. The
each other by telescoping meet there, at the option of wandering more or less bullshit and still undecided; peripheral areas, transit between bits of beach where we linger not really for sunbathing, the entrance to a dance hall where we finally does not stop a bus that has not really intend to take. It rather bored, but boredom almost relaxing, fresh, marrying briefly Musardise possibilities, time disconnected from the economic and social life.
The "province" ... No-man land French as a waterline, floating between the sea, the countryside and the city ...
Rozier, the stakes of the story is composed by progressive disruption of a territory, a principle of "flotation" of the characters and places, conducive to uncertainty about the coding and agreed divisions of class relations. The
each other by telescoping meet there, at the option of wandering more or less bullshit and still undecided; peripheral areas, transit between bits of beach where we linger not really for sunbathing, the entrance to a dance hall where we finally does not stop a bus that has not really intend to take. It rather bored, but boredom almost relaxing, fresh, marrying briefly Musardise possibilities, time disconnected from the economic and social life.
The "province" ... No-man land French as a waterline, floating between the sea, the countryside and the city ...
Friendships are forged idle ... We do not know exactly what you want, it is the "slow" seems Michaux. We invented brief utopia where we take the key fields.
The use of actors stamped "cinema fair" appears as a strategy assumed jamming tracks, categories: "great movie", "little film", "film is not much ". And clearly it destabilizes the dividing line between Cinephilia (tasteful, politics of "authors" and c °) and "cinoche Sunday. The cinephile
hurry and good complexion, clinging to his "distinctions" as aesthetic and sociological (by which he grows "without the knowledge of his own free will" his real or imagined, to stratum determined the social field - of course, the "cinephile" is a marker of social differentiation) will quickly sort through the sieve the good things and bad objects of gratification.
It remains a good indicator of what that actually , the field called "critical" of aesthetics continues to perpetuate a system of distinctive values and socially alienating an "apartheid" of "good taste".
Which is also redistributes in the sub-structure of "kitsch", the "second degree" and "tasteless assumed".
The "bad taste" played in the celebration of cynical "Nanars", that class: it also marks the difference between the dominated class - supposedly physically join to the objects - and the fraction dominated the ruling class, the "middle-class", supposed to eat sparingly or distancing: "we do not we."
The ruling class, it is supposed to have something else to fuck her time. It consumes no symbolic capital, it manages its assets and its cash equity.
objects mixed, impure, traitors to their law, it will be seen elsewhere, and "somewhere", so much the better.
is a good lesson about opening eyes. It's political situation, the test of reality.
Which is also redistributes in the sub-structure of "kitsch", the "second degree" and "tasteless assumed".
The "bad taste" played in the celebration of cynical "Nanars", that class: it also marks the difference between the dominated class - supposedly physically join to the objects - and the fraction dominated the ruling class, the "middle-class", supposed to eat sparingly or distancing: "we do not we."
The ruling class, it is supposed to have something else to fuck her time. It consumes no symbolic capital, it manages its assets and its cash equity.
objects mixed, impure, traitors to their law, it will be seen elsewhere, and "somewhere", so much the better.
is a good lesson about opening eyes. It's political situation, the test of reality.
The "Holiday". Reason eminent central cinema de Rozier. All events will conspire, often against their will, then gently separate them by an imperceptible movement of dislocation, each returning to the daily loneliness.
- Two controllers sncf - a rather nice, itches inclined to the guitar, the other rather corset, riding on the settlement - are left without really knowing why embedded between Ile d'Yeu and the coast ;
- a Brazilian dancer ignoring the concept of composting ticket "
- a lawyer pleading exalted confusing linguistic and semiotic "idiolect" rural;
- a sailor "maraîchin" convicted in court for having "performed acts of violence" on a driver - it has significantly threatened with a "dismantle- tire, and determined to defend the honor of his "fiancée" Brazilian victim of aggressive absurd little zealous officials of the rail.
- a sailor "maraîchin" convicted in court for having "performed acts of violence" on a driver - it has significantly threatened with a "dismantle- tire, and determined to defend the honor of his "fiancée" Brazilian victim of aggressive absurd little zealous officials of the rail.
The secret plan of revenge - at the end as uncertain as nebulae: they "do fair'un short tour at sea" - and they will pay "for the whole clan!
- Last but not least, parachuted in the midst of this congregation foutraque, a producer of "show biz" Latin American, gender-just baratineur mythological but with a "talent" to deliver persuasive to some and to others the most incongruous roles during a "jam session" where this unlikely cast improvised in the ballroom of the village.
Lead time will think of abandoning his job after this "beef" memorable drop everything to embrace the enchanting art of "King of Samba".
Lead time will think of abandoning his job after this "beef" memorable drop everything to embrace the enchanting art of "King of Samba".
It will be found amid the sands of Olonne, first taken in opposite directions at the point of collapse, and several times stopped in the silence of dawn, and then trawler boats tossed in as many decompression obeying the laws of the fishery and its slowness, to finally float in the air - suspended in an extraordinary panorama on the edge of abstraction and a length of almost experimental - where it appears as a dot moving tottering on the skyline. As if it was the "locally" between the sea, sand and the railway line below. And he seems to dance a samba shuffle, against a backdrop of piano and Brazilian percussion.
Yes, a holiday movie and the vacancy, but there will also an emotional journey, transverse, in "minor mood ", After which we are rediscovering, perhaps, the meaning of" brotherhood, "" kindness "," free "," solidarity "... It is well worth the artist's cap, saluting his audience since the strike "thank you! Goodbye! Thank you for everything! ".
Yes, a holiday movie and the vacancy, but there will also an emotional journey, transverse, in "minor mood ", After which we are rediscovering, perhaps, the meaning of" brotherhood, "" kindness "," free "," solidarity "... It is well worth the artist's cap, saluting his audience since the strike "thank you! Goodbye! Thank you for everything! ".
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