One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. At the finale of Bruno Dumont’s L’humanité (1999), an enervating investigation of both body and soul has finally led to the arrest of Pharaon’s friend Joseph (Philippe Tullier) for the rape and murder of a young girl. Pharaon (Emmanuel Schotté), the presiding police lieutenant, walks into the room to face an inconsolable Joseph. In an epiphanous mix of eros, philia, and agape, Pharaon grates his face against Joseph’s, caresses his short hair, kisses him fiercely on the mouth, and, with an exclamation of relief, pushes him back into the chair and leaves. A few scenes later, we see Pharaon sitting on the same chair, handcuffed.What Dumont undertakes in L'humanité, and indeed in most of his early films, is a visceral phenomenology of the human face.
- 11/2/2022
- MUBI
In good news for fans of Ingmar Bergman and Bruno Dumont, the Criterion Collection has announced its June titles. Three from the Swedish master are making the upgrade from DVD to Blu-ray, with Dumont’s “La vie de Jésus” and “L’humanité” making their Criterion debut. Also joining the collection are John Cameron Mitchell’s “Hedwig and the Angry Inch,” George Stevens’ “Swing Time,” and Sergei Bondarchuk’s epic adaptation of “War and Peace.”
More information below, as well as the ever-alluring cover art:
A Film Trilogy by Ingmar Bergman
In 1960, Swedish director Ingmar Bergman began work on three of his most powerful and representative films, eventually recognized as a trilogy. Already a figure of international acclaim for such masterpieces as The Seventh Seal and The Magician, Bergman turned his back on the expressionism of his fifties work to focus on a series of chamber dramas exploring belief and alienation in the modern age.
More information below, as well as the ever-alluring cover art:
A Film Trilogy by Ingmar Bergman
In 1960, Swedish director Ingmar Bergman began work on three of his most powerful and representative films, eventually recognized as a trilogy. Already a figure of international acclaim for such masterpieces as The Seventh Seal and The Magician, Bergman turned his back on the expressionism of his fifties work to focus on a series of chamber dramas exploring belief and alienation in the modern age.
- 3/16/2019
- by Michael Nordine
- Indiewire
Bruno Dumont is back on form with this mysterious and unsettling film about a fiercely devout twentysomething
The disturbing, violent, neo-Bressonian work of the French film-maker Bruno Dumont has waxed and waned in potency over the years: his Life of Jesus (1997) and the bizarrely compelling Humanity (1999) established his vision. There is a social-realist aesthetic, and a stark, islanded beauty and bleakness in the areas of northern France where Dumont prefers to film; there is an enigmatic mysticism amid explicit brutality, and a distinctive use of non-professional actors encouraged to maintain an unsmiling blankness and transcendental ordinariness. (To the astonishment of some, Emmanuel Schotté won the best actor prize at Cannes for a deadpan, untutored, almost childlike performance as the troubled police officer in Humanity, his single screen credit to this day. He was certainly an eerily powerful presence.)
Dumont has begun to repeat himself lately, but Hadewijch, made three years...
The disturbing, violent, neo-Bressonian work of the French film-maker Bruno Dumont has waxed and waned in potency over the years: his Life of Jesus (1997) and the bizarrely compelling Humanity (1999) established his vision. There is a social-realist aesthetic, and a stark, islanded beauty and bleakness in the areas of northern France where Dumont prefers to film; there is an enigmatic mysticism amid explicit brutality, and a distinctive use of non-professional actors encouraged to maintain an unsmiling blankness and transcendental ordinariness. (To the astonishment of some, Emmanuel Schotté won the best actor prize at Cannes for a deadpan, untutored, almost childlike performance as the troubled police officer in Humanity, his single screen credit to this day. He was certainly an eerily powerful presence.)
Dumont has begun to repeat himself lately, but Hadewijch, made three years...
- 2/17/2012
- by Peter Bradshaw
- The Guardian - Film News
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