Anatomies of the gaze, with Véréna Paravel, Lucien Castaing-Taylor, Alain Gomis and NT Binh

Anatomies of the gaze, with Véréna Paravel, Lucien Castaing-Taylor, Alain Gomis and NT Binh

“De humani corporis fabrica”, by Véréna Paravel and Lucien Castaing-Taylor

Verena Paravel and Lucien Castaing-Tayloranthropologists, filmmakers and poets, who in

Leviathan had made us adopt the point of view of a seagull or a wave on a fishing boat, and thus brought into the heart of matter, the same people who in

Caniba made us touch the tormented psyche of a famous cannibal, offer us in their new film,

De humani corporis fabricathe auscultation of threefold bodies: the human, the hospital and the political, with truly staggering images never seen on the big screen, often of a strange abstract beauty, which also make us see by what miraculous DIY the medical know-how combined with state-of-the-art techniques keep alive this precarious mass of flesh and bones called the human.

“Rewind & Play”, by Alain Gomis


Rewind & Playthe Franco-Senegalese filmmaker Alain Gomis, the author of

Today and of

Congratulations, endeavored, by reassembly and by sound, to dissect and thus deconstruct another look, that of the media machine on an immense artist, Thelonious Monk. His discovery of the rushes of a French television program from 1969, Jazz Portrait, animated by a French pianist in love with the music of Monk, Henri Renaud, celebrated until then for the accuracy of its subject and the justice it rendered to the music of the genius of jazz, and the way in which he reworks them in the editing, reveal on the contrary, the amateurism, the unpreparedness and even the well-meaning racism of a system obsessed with bringing into a ready-made and reassuring story an elusive and irreducible man, to whom he gives all his sweet humanity, and his means most powerful expression: his music…”When you look at the rushes of this show, you realize that there was an attempt at an interview, questions, answers, and that all of that was absolutely erased. And what is amazing is to realize that ultimately Thelonious Monk, the real Thelonious Monk, the presence of the man and his answers, were an obstacle to the story that we wanted to tell about him. (…) There is an image of him which is constructed, which suits the media and perhaps a certain part of those who listen to him: a somewhat elitist idea of ​​his music, an eccentric, almost autistic type. (…) And we see him resisting the portrait that we are trying to paint of him, by making certain questions ridiculous, by silence, with what he is in his music. (…). [Dans ces rushes]we see at work this machine to grind someone’s truth to transform it into an object, into the subject of a story that is not his own.

"Rewind & Play"by Alain Gomis
“Rewind & Play”, by Alain Gomis

– JHR Films

The Cinema Journal: “The Line”, by Ursula Meier

With his new film,

Line, Ursula Meier continues her exploration of dysfunctional families and toxic mothers, which she began with Home and The child above. Lineit is the story of a violent woman, played by the beautiful discovery that is the actress, and singer, Stephanie Blanchoud. Because she attacked, physically, without anyone really knowing why, her mother, she is the subject of a removal order, which her little sister will materialize on the ground with a line of blue paint , a line, which as always with the Swiss filmmaker who lives in Brussels, structures her cinema both geographically and topographically, and opens up a real playing field for her staging. “With the film’s chief operator, Agnès Godard, we wondered how to account for distance, because basically that’s what cinema is: we use focal lengths, lenses… During location scouting, we walked like two surveyors, we had to look at the landscape differently: you had to find a heterogeneous and heterogeneous space with a house in the center and look over a radius of 100 meters at what this curve crossed. Usually, we look for a specific setting, here we were looking for friction, tensions between different spaces. These are fascinating questions of cinema, and Hitchcockian at times.

"Line"by Ursula Meier
“The Line”, by Ursula Meier

– Diaphana Distribution

NT Binh’s chronicle: “Two on the swing”, by Robert Wise

The Nebraska lawyer trying to recover in New York from the divorce imposed on him by his wife is Robert Mitchum. The Greenwich Village dancer beatnik of the 60s, who is reluctant to serve as a consolation prize, it is Shirley MacLaine. The film, adapted from a successful play, is

Two on the swing. And the person filming all this in 1962 is Robert Wisewhich we already talked about a lot in Plan Large:

with Fernando Ganzo, about The Devil’s Housea horror film that he will shoot just after this one;

with already NT Binh, about the day the earth stood stillanti-nuclear science fiction film from 1951. Not to mention the film shot just before these Two on the swing : nothing less than West Side Story. In short, there is probably not a single Hollywood genre where the filmmaker has not distinguished himself. How does this bittersweet and relatively unknown romantic comedy fit into Robert Wise’s extensive filmography?

"Two on the swing," by Robert Wise
“Two on the Seesaw,” by Robert Wise

– Rimini Editions

Outings of the week

  • Mountain films, signed by masters of the genre: Fluvio Mariani, Gerhard Baur and Jerzy Porebskiwith climbing legends, such as Reinhold Messner, conquering peaks over 8000 meters, this is the traveling festival

    Filmmakers of the Impossible ;

  • A little further down, but still in the mountains, migrants trying to cross into France from Italy via the Col de Montgenèvre, and the volunteers who help them, is

    those of the nightof Sarah Leonorwhose release we prematurely announced a few weeks ago;

  • A woman, again without papers, but this time on a trawler, it’s

    Great Sailora maritime adventure film signed by the formidable actress Dinara Drukarovrevealed by Vitali Kanevski in Don’t move, die, resuscitate and An independent lifeand which passes here to the realization;

  • A Hungarian deputy of the Nazi army, sent to the USSR to track down partisans in the occupied zones, and who tries to keep the role of simple witness, it is the dark and beautiful

    Natural Lightfirst film yet, signed Denes Nagy ;

  • He is not on his first, we must Pietro Marcello the very beautiful La Bocca del Lupo and the surprise success of Martin Edenhe signs his first French film,

    take off– not certain, however, that the transplant was completely successful for him…;

  • A first film yet, which recreates the clashes in the 80s between stylish suburban gangs rockabilly 50s and skinheads from the center of Paris, it’s a good surprise

    The Rascalsof Jimmy Laporal-Treasuryespecially in his way of filming the enemy;

  • Two old friends who meet 30 years after seeing together The big Blue to realize their dream of going to the Greek island of the film, it is

    The Cycladesthe new comedy from Marc Fitoussia “Laure Calamy movie” if there ever was one;

  • And then finally, the return of an Italian filmmaker of whom we had not heard too much, Emanuele Crialese, also a very autobiographical return to the 70s, and why not have Penelope Cruz play her mother? It is

    The immensity.

Plan Large announcements

Next week will be released the new film of Baya Kasmithe author of people namewith Michel Leclerc, and I’m yours right nowof itself:

Youssef Saleem is successfulcomedy about autofiction, with a Ramzy Bedia astonishing as a class defector and goncoured in spite of himself. For Parisian listeners, we offer you the

preview next Tuesday at 8 p.m. at the Majestic Bastille, a France Culture Screening followed, as always, by a debate with the director.

Since we are talking about books, we would like to point out to you two more beautiful releases of cinema books. Luc Dardenne sign with

On the back of our images III (2014-2022) the third part, therefore, of his long-term reflections on cinema, which he co-signs with his brother Jean-Pierre, is at Le Seuil. As for the filmmaker Gael Lepinglehe comes out at Editions de l’Oeil a

Rita Hayworth beautiful.

Sound clips

  • Excerpts from De humani corporis fabricaby Véréna Paravel and Lucien Castaing-Taylor (2022)
  • Blue Monday, by New Order, in the soundtrack of De humani corporis fabrica
  • Rewind & Playby Alain Gomis (2022)
  • Don’t Blame Me, by Thelonious Monk
  • Extract of Lineby Ursula Meier (2022)
  • Hungarian Melody D. 817, by Franz Schubert, by Shani Diluka
  • Extract of Two on the swing (Two for the Seesaw), by Robert Wise (1962)
  • second chance, by Jackie Cain, music André Previn, in the soundtrack of Two on the swing

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