By Tim Palmer

Brutal Intimacy is the 1st publication to discover the attention-grabbing movies of up to date France, starting from mainstream style spectaculars to arthouse experiments, and from wildly well known hits to motion pictures that intentionally alienate the viewer. Twenty-first-century France is a massive resource of foreign cinema--diverse and dynamic, embattled but prosperous--a nationwide cinema supplying whatever for everybody. Tim Palmer investigates France's starting to be inhabitants of girls filmmakers, its buoyant forefront of first-time filmmakers, the increase of the debatable cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noe, and stars resembling Vincent Cassel and Jean Dujardin. examining dozens of leap forward movies, Brutal Intimacy situates notorious titles along many but to be studied within the English language. Drawing on interviews and the testimony of best movie artists, Brutal Intimacy supplies to be an influential therapy of French cinema this present day, its evolving contention with Hollywood, and its formidable objectives of audiences in Europe, North the United States, and all over the world.

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Extra resources for Brutal Intimacy: Analyzing Contemporary French Cinema (Wesleyan Film)

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The timbre and textures of ParaOne’s acoustically manipulated score also relate in France to the jarring experimental noise-soundtracks created by a number of more assertive sound designers. These include, notably, the work of electronic artist (and co-founder of Daft Punk) Thomas Bangalter for Irreversible (2002), and Raphael Elig and Eric Wenger (a programmer known for his software Metasynth, which translates images into aural patterns) for Dante 01 (2008). Applied to the teenaged context of Water Lilies, Philippe Azoury suggests evocatively that “The sound, supplied by [Sciamma’s techno producer] accomplice ParaOne .

6 Following this logic, avances sur recettes applicants (typically French directors, although scriptwriters, producers, and even filmmakers of other European nationalities were eligible) submitted production proposals based on their demonstrated artistic ambition and French-language orientation, with strong preference given to debutants. ”7 More than 120 first-time directors, in fact, made commercially released features between 1958 and 1964 alone. )8 And while the New Wave always snatches the headlines, today it is worth noting that 15 percent of all films produced in France each year still result from successful avances sur recettes pitches, many of them by new directors.

For this precise moment of the birth of desire, of the problem of falling in love, it’s also the birth of the problem of femininity. ”43 Besides the political subtext here—a feminine film in which men are just vestigial traces, a point we will pursue in Chapter 4 with Lucile Hadzihalilovic’s Innocence (2003)—Water Lilies conveys powerfully its hermetic, estranging world. The process is accentuated by the film’s peculiarly modernist setting, Cergy itself, Sciamma’s home town. ) In Water Lilies, Sciamma configures Cergy on-screen as a landscape of jutting, monumentalist architecture and sprawling plazas.

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