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  • Camille Claudel, 1915

    Camille Claudel, 1915


    While, in HORS SATAN, Dumont's sense of duration sometimes failed him, here he's made his best-paced film yet. Has a lot to do with the set-up/structure: Binoche, lone pro declaimer amongst the laconic non-pros, plays the lone artist amongst the aliénés (so, doubly alienated). And an hour in Dumont introduces another contrasting element in the person of Paul Claudel, Camille's brother artist, a cold block of ice (though he seems ready to crack at any moment) against Binoche's natural warmth.
    All in all, this shows how adaptable this apparently rigid director actually is.

  • Don Quixote

    Don Quixote

    1986 workprint, not the Franco one. Unfinished hence unrateable.
    A curio, disarming when you hear the great man himself.
    Won't go through it again.