Deep Breath (2001) Poster

(2001)

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7/10
Le Souffle is tantalizing and poetic.
edwardlamberti16 April 2003
David (Pierre-Louis Bonnetblanc) is a teenager spending the summer holiday on his uncle's farm. The film depicts a special day on the farm for David: the first time his two uncles allow him to eat and drink with the men - a group of farmers and other country dwellers. David gets drunk, throws up, lazes around in the sun, and then wanders off through the fields to meet his friend Matthieu (Laurent Simon). It's a day fraught with tension and incident.

Le Souffle is the debut feature film from writer-director Damien Odoul. It is an odd, tantalizing mixture: the carefully shot (in black and white), rather straightforward storytelling is set alongside some surreal and poetic imagery, all of which hints at a bold talent preparing to flourish. So for the most part we get nicely observed, almost documentary-style shots of farm life (e.g. a farmer slits a lamb's throat in close-up) and the countryside on a swelteringly hot day. And we also see some of David's fantasies - or, perhaps more accurately, poetic extensions of his state of mind: he imagines himself covered in mud, frolicking in the woods with wolves, wrestling with his uncles and drifting on the water with a girl.

As David, the previously unknown Bonnetblanc gives a performance which is startling in the way it lacks vanity: he portrays the frustration, awkwardness and casualness of this bored adolescent's day in the sun so well, it sometimes feel as if the viewer is intruding; he's an actor to watch out for. The rest of the cast is good too, although one wonders whether the film sometimes offers a limited view of the secondary characters. Perhaps, though, it's just aiming to portray the limitations of the world in which David is being brought up: he's fatherless, and we might hope that he will have more positive influences around him than these men who seem so scornful of their own upbringings and rather dismissive towards their wives.

In general, then, Le Souffle, at 77 minutes, manages to make quite an impact, and I'm looking forward to Odoul's - and Bonnetblanc's - next work.
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8/10
A beautiful little film.
OsbourneRuddock16 August 2004
Warning: Spoilers
There are no crucial plot elements in this film, as it's not the kind of film that relies plot, therefore no danger of spoilers. Rather it is a film about one day in the life of a troubled and restless teenager (David), which is spent on his uncle's farm. This for the most part is a day of immense boredom, which he begins by being ordered by his uncle into doing various tedious chores around the farm (e.g.collecting wood and hay etc).These he does only with great reluctance. After the morning's work he is invited to a drinking session on the farm with his uncle and his friends, but although he joins in and becomes very drunk (and throws up) he just becomes even more bored and restless. Bored of the company of these older men, he begins to wander around the farm. Although there's not much of a plot there is a climactic ending however, which is propelled along by tragic event near the end of the film (which I won't go into).

The day is shown through a strange blend of realism, symbolism and dream. In the very beginning of the film the emphasis is on realism. One of the earliest scenes shows graphically his uncle cutting the throat of a sheep or lamb (have to admit that i turned away at this point because i knew it was coming). I think the idea of showing this scene was to dispel right away any idea of this countryside farm as being some sort of idyllic setting. For teenagers who have grown up in small towns, farms or villages, eager for excitement and brought up on mass mediated pop culture, TV and entertainment, the countryside is a place of inescapable and intolerable boredom,(I grew up in one so i should know). David's own attitude to animals and nature seems ambivalent or continually changing throughout the film. In one Scene David finds a dead rabbit and spends some time digging a grave for it, gently caressing and kissing it as he puts it in. But in another scene we see him repeatedly kicking a cockerel out of his way, and in another throwing stones at a donkey. Another reviewer described the David character as a 'tedious arrogant sociopath'. True, but isn't that a n accurate description of most teenagers. As teenagers go i found him quite likable. Frequently throughout the film we see what seem to be very short dream sequences, although these could also be merely describing Davids state of mind. Either way, no direct or obvious explanation is given to what these strange images might mean. They reminded me a bit of Lynch's 'Eraserhead', particularly the bit with glittering dust floating through the air like stars.

The entire film is beautifully shot in sharply contrasting black & white. The use of sound is also very striking and effective. Occasionally the sound of an airplane can be heard roaring past, (although we never actually see it), and sometimes with the sound trailing off into the next scene. In one part the sound dies off altogether in what would normally be the loudest scene of all - during a thunderstorm, and this creates a strange psychological effect. This along with some of the other poetically symbolic scenes reminded me of Tarkovsky's films. I really can't understand people who claim this film is boring and pretentious- i found it to be neither. As for the charge of 'boring', well it's a film partly about boredom- the boredom of youth, so it would have been totally inappropriate for it to concentrate on any plot, particularly a complex one. But that's not to say the film itself is boring. Far from it, it's a film full of interesting characters and beauty. And as for the 'pretentious'charge, pretentious seems to be a word used by people who are unable to appreciate artistic beauty, or who are unwilling or unable to engage with a film done in any other way than the typical Hollywood way, which is itself a form of snobbery. The word 'pretentious' means to make undeserved claims of distinction or importance. The director has not done that with this work, he has simply made a beautiful little film.

Definitely worth watching.
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9/10
Visually striking and darkly poetic
howard.schumann30 August 2004
Abandoned by his father, 15-year old David (Pierre-Louis Bonnetblanc) is sent by his mother to spend his summer with his uncle in the rural Limousin region of France and has to contend with the backwardness of French country life. Deep Breath, the highly stylized and poetic first feature by Damian Odoul is a coming of age film that uses dreams, ritual, and myth to capture the uncertain passage between adolescence and adulthood. Shot in high contrast black-and-white cinematography, Deep Breath is visually striking and its dreamscapes underscore the director's poetic relationship to the world. While the film has elements of Bresson, Bunuel, Truffaut, Cocteau, and Dumont, Odoul's darkly hued tone poem is unique to his artistic vision.

Recently expelled from school, David is unsure of what is expected of him, sometimes lashing out in frustration, at times showing affection, and, more often than not, retreating into a private world of images and sounds. He desperately wants to assert his freedom and individualism. "I walk any way I want, even sideways if I feel like it," he says but his pose hides a deeply insecure self-image. Odoul assaults our senses from the start as we witness the slaughter of a sheep for the daily meal (animal lovers are warned!) while his gruff uncle snaps at David to perform menial chores. David, however, is not in a hurry to do anything and would rather just hang out or dance convulsively while listening to French hip-hop music on his Walkman. When his uncle invites a group of men friends to drink and gamble at an afternoon barbecue, David is persuaded to join in the afternoon delight and reluctantly agrees to the macho ritual. As the drinking continues, however, the conversation becomes dark.

One man relates that his dad shot one man, Jean-Claude, in the head. "Ah, memories," he sighs. Pierrot, who is plotting to leave his wife and children, warns David: "Get this into your skull – fathers always abandon their sons." David surrenders to his initiation and gets dead drunk, then tries to sober up by immersing himself in a pool of water, triggering a surreal recollection of his first sexual experience. In a hallucinatory trance, the boy stands helplessly by as the men pour some salty coffee down his throat in a scene with homoerotic overtones. Full of rage, he steals a rifle and wanders off into the fields fantasizing about wolves and looking for his friend Matthieu (Laurent Simon) and his cello-playing girlfriend Aurore (Laure Magadoux). When he meets Matthieu, it is not long before his frustration boils to the surface and finds an outlet in a shocking act that, literal or metaphoric, becomes a catalyst that will change his life forever.
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Under-rated modern classic
richtharr23 August 2004
I'm afraid those who mis-read 'Le Soufflé' as a boring film about a pretentious teenager are in need of cinematic guidance. The film- shot in black and white as an aesthetic decision which marks both the uncompromising stance of its director as well as the downbeat narrative-is about a teenager, life, death, and the rituals associated with all of them.

With echoes of Franju in its brutal depiction of animal cruelty, 'Le Soufflé' weaves a coming-of-age story with a semi-mystical backdrop of French rural life. This is not supposed to be 'real'- the frequent dream sequences point to a directorial awareness that he is making a comment on the very themes he is focussing on.

'Le Soufflé' is a complex film but well worth watching- not once but again if one is to even touch the surface of its cinematic depth. Powerful, interesting stuff- the kind of film we can't make anymore.
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