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Links to our threads on Carl Dreyer's The Passion of Joan of Arc (1928), Victor Fleming's Joan of Arc (1948), Otto Preminger's Saint Joan (1957), Robert Bresson's The Trial of Joan of Arc (1962), Philippe Ramos' The Silence of Joan (2011), The Hollow Crown (2012-2016), Kimberly Cutter's The Maid (in development) and Dana Stevens' The Maid and The Queen: The Secret History of Joan of Arc (in development). Link to a thread from Sep-Oct 2003 in which SDG and I butted heads over Joan of Arc. Links to our threads on earlier Bruno Dumont films Twentynine Palms (2003), Hadewijch (2009), Outside Satan (2011), Camille Claudel 1915 (2013) and Li'l Quinquin (2014). We don't seem to have any threads on The Life of Jesus (1997), Humanité (1999), Flanders (2006) or Slack Bay (2016). - - - Berlin: Bruno Dumont Set for Joan of Arc Musical Drama (EXCLUSIVE) Bruno Dumont, whose 2013 Juliette Binoche starrer “Camille Claudel 1915” competed in Berlin, will next be directing “Jeanette,” a musical drama based on Charles Peguy’s play “Le Mystere de la charite de Jeanne d’Arc. Produced by Jean Brehat for 3B Prods., “Jeanette” the musical will focus on the part of Peguy’s play that deals with Joan of Arc as a child, from age 8-12, when she started to embrace her sacred mission. Arte France Cinema is co-producing. Like 2014’s “Li’l Quinquin,” Dumont’s comedy-drama TV mini-series that premiered at Cannes’ Directors’ Fortnight and sold worldwide, “Jeanette” is being produced for television but will be repped by a sales agent for theatrical distribution abroad. “Jeanette’s” rock and techno score will be composed by Gautier Serre (aka Igorrr) and choreographed by Philippe Decoufle, whose credits include “Le Dernier Chaperon rouge” and “New Order: Substance.” Shooting will start in August. Variety, February 14
Justin Chang @ Variety: Bruno Dumont, one of French cinema�s reigning pessimists, suspends his punishing view of mankind � at least momentarily � with �Hadewijch,� an austere, deeply questioning examination of a devout young woman having an intense crisis of faith. Less harsh and forbidding than the auteur�s recent work, yet played with the same deadly seriousness, the film is exquisitely molded, dramatically parched and entirely sincere, perhaps to a fault, while its engagement with both Christianity and Islam supplies a rich, potentially divisive talking point for fall festgoers. Dumont�s followers will need no exhortation to climb aboard, but new arthouse converts look unlikely. �Hadewijch� takes its name from a 13th-century Christian mystic who, in her writings, extolled the adoration of God over worldly, romantic love. Dumont has conceived his protagonist, Celine (newcomer Julie Sokolowski), as a latter-day Hadewijch � a 20-year-old theological student whose commitment to Christ is so extreme that she�s cast out of her convent by an alarmed Mother Superior, who urges her to find her calling in the outside world. Viewers hoping that Celine�s calling might involve singing moppets and lederhosen have probably never seen a Dumont film before. Yet mercifully, �Hadewijch� mostly rejects the repellent man-as-bestial-predator worldview that suffocated �Flanders� and �Twentynine Palms,� allowing for a more nuanced, intelligent view of human thought, behavior and spirituality that�s borderline generous by the helmer�s standards. . . .