I know that Lars von Trier wants us to hate his movies, because he wants us to have that authentic visceral reaction to them, whether it be love or hate. That seems fairly clear both from his pronouncements as from the films themselves, and therefore I want to respond by saying I found his film — surely one of the films that most potently distils everything that he wants to assault the viewer with — as merely middling. However, I cannot lie: I disliked it a lot. Not that it wasn’t acted with great power by both Gainsbourg and Dafoe, who are pretty much the only humans we see for much of the film (aside from their infant son who dies in the prologue and whose death hangs over the entire psychodramatic dynamic that ensues). Not that it wasn’t filmed with customary elegance by Anthony Dod Mantle. Not that there weren’t elements that worked well and could be appreciated. But just that constant assault of images and ideas that serve no purpose other than to evoke grand emotions. Well, I’m glad people can embrace those and I don’t doubt that it’s all very intentionally done. I could dispassionately render a critique on its artistry. But I feel like a more honest response — and perhaps the one that Trier would prefer — is just: f*ck that guy. I didn’t hate his film, and maybe even one day I can come to it with understanding, but I don’t have to watch it again, and I’m glad about that.
FILM REVIEW: Criterion Collection
Director/Writer Lars von Trier; Cinematographer Anthony Dod Mantle; Starring Willem Dafoe, Charlotte Gainsbourg; Length 108 minutes.
Seen at home (Blu-ray), Wellington, Saturday 18 June 2022.
Both these films were made by Varda as collaborations with Jane Birkin. The idea for Kung-Fu Master! came from Birkin during the production of Jane B. and so Varda helped her realise the concept. Varda’s similarly playful (and similarly titled) final film Varda par Agnès (2019) is released in the UK this Friday 19 July.
Continue reading “Two 1988 Films by Agnès Varda: Jane B. by Agnès V. and Kung-Fu Master!”
There’s a certain kind of French film, like this one, which has a light and frothy quality to it — all well-heeled middle-class houses and high society fashion worn by venerable actors at the top of their game (including Catherine Deneuve) — while nevertheless trying to pick away at something hidden under that luxe surface. Here we get the story of a civil service accountant Marc (Belgian actor Benoît Poelvoorde) who finds himself doing an audit in a provincial town, where he bumps into Sylvie (Charlotte Gainsbourg) and they have a one-night stand. They agree to meet again in Paris, but he misses the appointment and doesn’t have any details for her. Some time later he returns to the small town, where he meets Sophie (Chiara Mastroianni) and strikes up a romance with her. She, of course, and unbeknown to him, turns out to be Sylvie’s sister. There’s a well-worn pleasure in the way things progress from here, ever reliant on some rather stretched plotting, but you get the sense that the filmmaker’s interest is in the way this conventionally-boring man can inveigle his way into the lives of others and upset their carefully-ordered world. There’s a recurring musical motif in the soundtrack that suggests the intended tone is more horror film or dark, psychological thriller than comedy, but if so, it’s a peculiar form of middle-class domestic horror. I’d perhaps have had more time for it if Poelvoorde was more convincing as the buttoned-up lothario character; I never really believed that these women would fall for him in the way they did. That said, it’s all perfectly enjoyable fluff that, unlike its central character, doesn’t outstay its welcome.
Director Benoît Jacquot; Writers Julien Boivent and Jacquot; Cinematographer Julien Hirsch; Starring Benoît Poelvoorde, Charlotte Gainsbourg, Chiara Mastroianni, Catherine Deneuve; Length 106 minutes.
Seen at Odeon West End, London, Saturday 19 October 2014.