{"id":5132,"date":"2021-12-07T15:13:51","date_gmt":"2021-12-07T22:13:51","guid":{"rendered":"https:\/\/theboisebeat.com\/?p=5132"},"modified":"2021-12-07T15:19:56","modified_gmt":"2021-12-07T22:19:56","slug":"france-a-perfectly-cast-film-thats-more-than-an-exquisite-homage-to-first-world-angst","status":"publish","type":"post","link":"https:\/\/theboisebeat.com\/index.php\/2021\/12\/07\/france-a-perfectly-cast-film-thats-more-than-an-exquisite-homage-to-first-world-angst\/","title":{"rendered":"FRANCE: A Perfectly Cast Film That\u2019s More Than an Exquisite Homage to First World Angst"},"content":{"rendered":"

\"\" For FRANCE, philosopher-filmmaker Bruno Dumont once again partnered with cinematographer David Chambille<\/a> and distributor Kino Lorber<\/a> to project onto the screen the interior world of his characters in a multi-faceted film about the media industrial complex.<\/p>\n

In keeping with Dumont\u2019s cinematic ideals, titular France de Meurs (L\u00e9a Seydoux) is a character who lacks heroic qualities. France the character is France the country\u2019s top journalist, loved by viewers and an apparent cash cow for her media network. In over-the-top fashion, France\u2019s producer-assistant Lou (Blanche Gardin) directs France\u2019s moves for maximum social media engagement and does and says whatever it takes to manage France\u2019s fragile emotions. Lou is a caricature, a stand in for all that is absurd in industrialized storytelling. Describing the origins of the film, Dumont says, \u201cThere\u2019s a lot of \u2018cinema\u2019 all over the place (and in every sense of the term\u2014a lot of playacting, a lot of dreaming). Notably in the media industry.\u201d France too is a player, acting, directing, and editing for maximum effect but with charm and a hint of self-awareness.<\/span><\/p>\n

<\/p>\n

\"BrunoFrance\u2019s life is picture perfect by all outside measures. However,<\/span> her relationships with her husband, Fred (Benjamin Biolay), and son, Jo (Ga\u00ebtan Amiel), are strained. The cause of the tension with Fred who appears to genuinely care for her and their son isn\u2019t clear. What we do learn about Fred is that he too is a storyteller, a novelist whose recently published book is \u201cdaring.\u201d Even when mocked by their friends at a dinner party for writing a hybrid work, Fred stands his ground. The subtext suggests that Fred pursues art while France pursues profit. Despite their mutual discontent, they work around and with each other domestically and professionally. All things considered, France\u2019s life is not so bad. Nevertheless, she suffers. It is the disproportionate measure of her internal misery compared to her external reality that makes her character difficult to empathize with.<\/p>\n

It is easier to mistrust her. Early on we follow her on assignment in Afghanistan. Unhappy with how she comes across at various times while interviewing local fighters, she directs several takes, even repositioning herself to take advantage of a more dramatic backdrop and a location where only she is in frame. After getting the interview clips she wants, France attempts to get specific B-roll footage. Dumont\u2019s sequencing shows her crafting the piece in her head as she goes. She directs several men to act out dramatic walking, gazing, and signaling. It is clear that the men do not understand what she wants from them, but they attempt to follow her instructions in uncomfortable amusement. This scene evokes questions about the relationship between journalism and cin\u00e9ma v\u00e9rit\u00e9\u00a0and the boundaries of informed consent.<\/p>\n

When France\u2019s finished report airs the internet blows up, which pleases Lou.<\/p>\n

After the report and while she a guest on another show, France says, \u201cI feel I have a mission. Through my gaze, I can show a certain vision of conflict\u2026\u201d Her halting delivery suggests that she both believes this and doesn\u2019t. The host then asked a prescient question, why does France feel the need to be present in frame and if it\u2019s a form of staging. France assures her that no, her approach has nothing to do with staging. It is, she says, her way of offering \u201ca more sensitive approach.\u201d France goes on to say that \u201cIt\u2019s all subjective.\u201d<\/p>\n

As the film progresses, France becomes aware of the inescapable realities of fame and how media consumers\u2019 appetites turn journalists into content creators. The troubles of the famous become eagerly consumed headlines and ingredients for the soup that is social media. She is followed and her comings and goings reported. She does misstep, but we do not see any meaningful consequences meted out by her superiors. Meaningful conflict is internal rather than external. This highlights her privilege.<\/p>\n

At the mid-point of the film, France tells a therapist that she wants to be transparent but acknowledges that her heart is sick.<\/p>\n

Through wide-angel shots, pitch-perfect mise en sc\u00e8ne, a haunting musical score, and achingly long takes, we experience her dissociation, grief, and acceptance of herself and the system as they are.<\/p>\n

FRANCE offers a feast of discussion-worthy topics in and of itself, but its depth is perhaps best explored in the context of Dumont\u2019s body of work.<\/p>\n

<\/a>In LA VIE DE J\u00c9SUS (1997), the lead character Freddy is an unemployed young man \"\"trapped in a small French town. With few prospects and time on his hands, he rides aimlessly around town with his friends, finding amusement where he can. After he and his crew rape a young woman, Freddy\u2019s girlfriend takes up with another young man who becomes the target of Freddy and his friends\u2019 frustration. Where Freddy is unemployed and trapped in a small town, France is fully employed and has access to the world. Both are restless and miserable. Freddy turns his angst outward, tearing down his world with his own hands. France attempts to keep herself together, maintaining her respectability as best she can.<\/p>\n

Where LA VIE DE J\u00c9SUS is a tight story with a clear plot, FRANCE is loose. We enter the story after cracks have formed in France and Fred\u2019s relationship and never learn the source of their troubles. Fred\u2019s artistic journey is not fully explored. Dumont instead focuses the audience\u2019s attention on France\u2019s internal suffering and events and relationships outside of their marriage. Perhaps this is on purpose. Perhaps France herself cannot bear to look at that aspect of her life. Perhaps Dumont means to show by comparison that for the young cause and effect are clearer and that as we age all the inputs and outputs of life become harder to track. Some questions will never be answered, and some storylines never resolve. He and we must, however, acknowledge them if there is to be any truth in the presentation.<\/p>\n

And it is truth or at least authenticity that Dumont seeks. In a masterclass interview<\/a> by Kieron Corless at Cin\u00e9 Lumi\u00e8re, Institut Fran\u00e7ais du Royaume-Uni, Dumont states his belief that a filmmaker must be analytical and \u201cabove all somebody who has a sensibility, a sense of analysis and reflection and cinema is a means of expression.\u201d He goes on to say that \u201cthe most important [thing] really is the gaze, the outlook you have.\u201d The character of France voices Dumont\u2019s truth in the film. Is this his way of staging himself in his reporting?<\/p>\n

<\/a>In that same interview, Dumont and Corless discuss the director\u2019s reasons for casting \"\"non-professionals to play the characters in his first films and television mini-series LI\u2019L QUINQUIN (2014) while selecting acclaimed actress Juliette Binoche to play the lead in CAMILLE CLAUDEL 1915 (2013). For Dumont, it \u201cis not the actor\u2019s name but their nature.\u201d Ordinary people as he puts it are on screen what they are in life, authentically playing out the nature of their characters. Camille Claudel was an artist. Binoche, an artist, playing an artist brings authenticity to the role.<\/p>\n

That film covers a brief span of time during Claudel\u2019s 40-year confinement in a mental institution. Trapped among severely disturbed patients, Claudel suffered greatly. She was both unaware of her \u201cmadness\u201d and acutely aware of the \u201cmadness\u201d of those around her. Dumont describes France de Meurs as \u201ca cinematic ectoplasm whose surprising and human appearances force the spectator to question the real of which she is nothing but a specter.\u201d<\/p>\n

Like Juliette Binoche, L\u00e9a Seydoux is a natural in her role. She is poised and beautiful and a real-life player in the industrial media complex. And her skill as a professional actress is on full display in this role. She is captivating, bringing to life a character that is complex and pitiable.<\/p>\n

When discussing casting for CAMILLE CLAUDEL 1915, Dumont says, \u201cIt was absolutely out of the question for me to ask actors to play being mad.\u201d Instead, inmates of the institution were cast in supporting roles. The film has been described as a compassionate look at mental illness, but questions of consent and disquieting thoughts about how the system and its players profit from using people as props remain. Is this his way of offering \u201ca more sensitive approach\u201d? It is as Dumont acknowledges, \u201ccomplicated.\u201d<\/p>\n

As he did in earlier works, writer-director Bruno Dumont once again finds a way to communicate the uncommunicable and forces his audience to observe the ugliness until they\u2014not necessarily the character\u2014rise above it. FRANCE, therefore, can be seen as part of a broader conversation, a philosophical conversation Dumont is having with himself and his audience, a working out of ethics and ideals through the expression of cinema.<\/p>\n

FRANCE, an Official Selection for Cannes International Film Festival and Toronto International Film Festival, opens in theaters in Los Angeles (Nuart Theatre)<\/a> and New York (Film at Lincoln Center)<\/a> on Friday, December 10, followed by a national rollout.<\/p>\n","protected":false},"excerpt":{"rendered":"

For FRANCE, philosopher-filmmaker Bruno Dumont once again partnered with cinematographer David Chambille and distributor Kino Lorber to project onto the screen the interior world of his characters in a multi-faceted film about the media industrial complex. In keeping with Dumont\u2019s cinematic ideals, titular France de Meurs (L\u00e9a Seydoux) is a character who lacks heroic qualities. […]<\/p>\n","protected":false},"author":19,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[25,1,26],"tags":[1414,1412,497,1413,1415],"class_list":["post-5132","post","type-post","status-publish","format-standard","category-movies","category-uncategorized","category-video","tag-bruno-dumont","tag-france","tag-kino-lorber","tag-lea-seydoux","tag-nuart-theater"],"yoast_head":"\nFRANCE: A Perfectly Cast Film That\u2019s More Than an Exquisite Homage to First World Angst - The Boise Beat<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theboisebeat.com\/index.php\/2021\/12\/07\/france-a-perfectly-cast-film-thats-more-than-an-exquisite-homage-to-first-world-angst\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"FRANCE: A Perfectly Cast Film That\u2019s More Than an Exquisite Homage to First World Angst - The Boise Beat\" \/>\n<meta property=\"og:description\" content=\"For FRANCE, philosopher-filmmaker Bruno Dumont once again partnered with cinematographer David Chambille and distributor Kino Lorber to project onto the screen the interior world of his characters in a multi-faceted film about the media industrial complex. 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