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Posts tagged Agnès Godard

Who's Afraid of Virginia Woolf? Mike Nichols, 1966 Cinematography | Haskell Wexler

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Cinema is many things, but it is a visual medium. The Cinematographer weaves magic of light, composition, perspective and frames which capture the vision of the film’s director. Here are a few of my favorite cinematography moments. There are other cinematic moments that are better and equally loved, but this are a few that came into my mind…

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Fate is written in the face.”Federico Fellini

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8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Our job isn’t to recreate reality, our job is to represent reality.”Gordon Willis

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Klute Alan J. Pakula, 1971 Cinematography | Gordon Willis

 

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Manhattan Woody Allen, 1979 Cinematography | Gordon Willis

 

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September 30, 1955 James Bridges, 1977 Cinematography | Gordon Willis

 

“The idea is to find the space and then to light it in such a way that the actors can go wherever they like, and then to respond to what the actors have done. Only at that point are the final frames decided upon. So it can be very spontaneous.” Sean Bobbitt

 

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Shame Steve McQueen, 2011 Cinematography | Sean Bobbitt

 

 

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12 Years A Slave Steve McQueen, 2013 Cinematography | Sean Bobbitt

 

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Hunger Steve McQueen, 2008 Cinematography | Sean Bobbitt

” When we came to film Persona, we virtually discarded the medium shot. We went from wide shots to close-ups and vice versa. Ingmar had seen a certain resemblance between Liv Ullman and Bibi Andersson, and the idea had dawned of making a film about identification between two people who come close together and start to think the same thoughts. The film gave me the opportunity to explore my fascination with the face…” — Sven Nykvist

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

“For me, movies should be visual. If you want dialogue, you should read a book.”

Vilmos Zsigmond

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

Mark Rydell told Zsigmond that The Rose should “look like an abdominal operation.” — Noel Murray of The Dissolve

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“Photography is truth. The cinema is truth twenty-four times per second.”

Jean-Luc Godard

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“A film on prostitution about a pretty Paris shopgirl who sells her body but keeps her soul while going through a series of adventures that allow her to experience all possible deep human emotions, and that were filmed by Jean-Luc Godard and portrayed by Anna Karina. Vivre sa vie.”Jean-Luc Godard

 

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Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“The more one talks, the less the words mean.”Vivre Sa Vie

 

Invisible Waves Pen-Ek Ratanaruang, 2006 Cinematography | Christopher Doyle

Invisible Waves
Pen-Ek Ratanaruang, 2006
Cinematography | Christopher Doyle

 

“I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.” Christopher Doyle

 

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Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

 

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Dumplings Fruit Chan, 2004 Cinematography | Christopher Doyle

 

“There’s always a shot or a moment you missed; it informs your work rather than takes from it.” Christopher Doyle

 

Away With Words Christopher Doyle, 1999

Away With Words
Christopher Doyle, 1999

 

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A Woman Under the Influence John Cassavetes, 1974 Cinematography | Al Ruban

 

“Mabel is not crazy, she’s unusual. She’s not crazy, so don’t say she’s crazy.”A Woman Under The Influence

 

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Bronson Nicolas Winding Rein, 2008 Cinematography | Larry Smith

 

“I’m colorblind, I can’t see mid-colors. That’s why all my films are very contrasted, if it were anything else I couldn’t see it.”Nicolas Winding Refn

 

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Only God Forgives Nicolas Winding Rein, 2013 Cinematography | Larry Smith

 

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Calvary John Michael McDonagh, 2014 Cinematography | Larry Smith

 

“I shot much of the film with a handheld Arriflex with a very wide lens and a tiny tobacco tin on the front fitted with a wee bulb to add a bit of fill, just enough to see Catherine Deneuve’s skin in the shadows until I moved in close.”Gilbert Taylor

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

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Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

 

“I believe the look of the picture is inherent in the material. The material will tell you what the picture should look like. Roman [Polanski] took the audience and led them by the nose to a point, then he left it up to you, and let the audience run with their imagination.” — William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“Cinema should make you forget you are sitting in a theater.”
Roman Polanski

 

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

 

“I love my work. It’s a passion because otherwise you can’t do it.” — Benoît Debie

 

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Irreversible Gaspar Noé, 2002 Cinematography | Benoît Debie

 

“When you see a movie, it’s like you’re attending a show of magic in which the magician pulls a rabbit out of a hat.”
Gaspar Noe

 

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Enter The Void Gaspar Noé, 2009 Cinematography | Benoît Debie

 

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Spring Breakers Harmony Korine, 2012 Cinematography | Benoît Debie

 

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Love Gaspar Noé, 2015 Cinematography | Benoît Debie

 

“You make the movie through the cinematography – it sounds quite a simple idea, but it was like a huge revelation to me.”
Nicolas Roeg

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“I think a cinematographer’s job is to put a director’s vision on the screen. Nic is very clear in his vision and how he wants a movie to look, to feel, to smell.”Anthony B. Richmond

 

 

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Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

 

“During the minutes or seconds that this fleeting image is on the screen, you have to enable the viewer to see and especially to experience that there is a very rapid emotional shock. So the lighting has to be designed in such a way that its form can pierce through the screen and travel like an arrow into the viewer’s mind.” — Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

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Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

 

“The beautiful thing about Robby is that he starts the process by talking to you about what the film means, what the story is about, what the characters are about. He starts from the inside out, which is really, really such a great way.”Jim Jarmusch

 

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Down By Law Jim Jarmusch, 1986 Cinematography | Robby Müller

 

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Paris Texas Wim Wenders, 1984 Cinematography | Robby Müller

 

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Breaking the Waves Lars von Trier, 1996 Cinematography | Robby Müller

 

” I’ve had glasses since I was six. Back then, I’d wake up in the morning and do things without my glasses on, and I’d be pretty blind. I’m very comfortable getting up close to things. There’s a sense of discovery that comes with that and it’s something I’m really interested in in my work.”  — Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

 

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Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

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Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

 

“Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photographically.” John Alcott

 

 

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A Clockwork Orange Stanley Kubrick, 1971 Cinematography | John Alcott

 

 

“Style is something that’s extremely important, but it must grow naturally out of who and what you are and what the material calls for. It cannot be superimposed.”
William Friedkin

 

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The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

 

“The camera lies all the time — lies 24 times/second.”
Brian De Palma

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

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Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

 

Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

Dressed to Kill
Brian De Palma, 1980
Cinematography | Ralf D. Bode

 

 

” It’s very pleasant to hear that because my conception of this job is to be a companion or a collaborator. It’s to complete something. It is also making the image as separate from the directing but to be part of the storytelling process. If you have some distance with the film you are watching, you’ll be just attracted. You’ll be swimming in it. Or enveloped, like music” Agnes Godard

 

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Beau Travail Claire Denis, 1999 Cinematography | Agnès Godard

 

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Trouble Every Day Claire Denis, 2001 Cinematography | Agnès Godard

 

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The Intruder Claire Denis, 2004 Cinematography | Agnès Godard

 

“Photographing Citizen Kane was indeed the most exciting professional adventure of my career.” Gregg Toland

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“The enemy of art is the absence of limitations.”
Orson Welles

 

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Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

 

“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
Ingmar Bergman

 

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Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Cinematic images are the things of magic.

Matty Stanfield, 1.6.2016

 

 

 

Béatrice Dalle first came to cinematic fame in 1986 when she played the female lead in Jean-Jacques Beineix’s controversial but very successful, 37°2 le matin or Betty Blue as it was titled for release outside of France. Prior to that she had been working as a model. In retrospect I realize that I should have known that her beauty would age oddly. Or, maybe that is unfair. Now, at 50 years of age she still carries a distinctly unique sort of beauty. And if I remember correctly, Jean-Jacques Beineix’s did say that he saw “something different” about her. It was that “something different” that led him to cast this unknown and untrained woman as the tragic female lead — which was loaded with challenges. But he sensed a sort of erotic energy that almost scared him. At the time she was involved with Jean-Hugues Anglade, the highly skilled actor who would be in the lead role. A few years after the films release, Beineix’s mentioned that he wanted to capture the intensity of their erotically-fueled relationship. Apparently neither minded that aspect of their jobs in the film.

Beatrice Dalle French Elle Magazine Photograph | David Lynch, 2007

Beatrice Dalle
French Elle Magazine
Photograph | David Lynch, 2007

Jean-Jacques Beineix’s ultra-erotic story of love, passion, obsession and tragedy shared between a simple repairman and a mentally fragile young woman quickly captured the psyches of two generations of American and UK youth. Betty Blue was beloved equally by both sexes in the late 1980’s. The reason that we loved it so much was tied into the frantic fusion glossy colors, intense romance and graphic sexuality in ways that appealed as much to young women as it did to young men. An odd occurrence. And, none of us had ever seen what appeared to be unsimilated sex mixed with dire romance. And in such vivid and pretty colors?!?!

Beatrice Dalle and the stylish Betty Blue poster found a place on more walls than can be imagined.

Beatrice Dalle and the stylish Betty Blue poster found a place on more walls than can be imagined.

For a while young people projected romance and depth onto Betty Blue in the same way that young girls often project misplaced romantic notions onto Sylvia Plath’s work. In my memory it seems like nearly everyone I knew had the Betty Blue poster in their bedrooms, dorm rooms and apartments well into the mid-1990’s. I had only ever seen it once in 1987. But I saw it again in 2010 and just recently. It still somehow feels important. But through my adult eyes Betty Blue feels exploitive and cruel. And, it is more than a little worrying how Jean-Jacques Beineix romanticizes both the uncomfortable obsession and mental illness all at once. Béatrice Dalle and Jean-Hugues Anglade share an erotic chemistry that still wants to melt the plasma monitor of our big screen TV.  Both actors carry disarming cinematic presence, but not in the way I had remembered. Anglade is kind of sexy in a more grounded way that we were not accustomed to leading men in American or British film.

Jean-Hugues Anglade is a very real and sweaty looking leading man for 1986. Betty Blue, Jean-Jacques Beineix. Cinematography | Jean-François Robin

Jean-Hugues Anglade is a very real and sweaty looking leading man for 1986. Betty Blue, Jean-Jacques Beineix.
Cinematography | Jean-François Robin

Béatrice Dalle is not as beautiful as I remember thinking in 1987. Through my adult eyes she still oozes sexuality, but there is seems to a something remotely odd about her that I didn’t notice when I was 19. Is it her teeth? Maybe her eyes? Most likely it is the charismatic, but worrying energy she brings to the screen.

Beatrice Dalle and that something different make their entrance in Jean-Jacques Beineix's Betty Blue, 1986. Cinematography | Jean-François Robin

Beatrice Dalle and that something different make their entrance in Jean-Jacques Beineix’s Betty Blue, 1986.
Cinematography | Jean-François Robin

And, yet, close to 30 years later — I still can’t take my eyes off either of them.

Beatrice Dalle & Jean-Hugues Anglade in the morning. Betty Blue, Jean-Jacques Beineix.  Cinematography | Jean-François Robin

Beatrice Dalle & Jean-Hugues Anglade in the morning. Betty Blue, Jean-Jacques Beineix.
Cinematography | Jean-François Robin

But that same erotic intimacy along with the odd mix of actual penetrative sex, love, obsession, insanity and grotesque resolution now border on the offensive. I still can’t pull myself away. Part of it might be nostalgia, but I think there is just “something different” about the movie. I doubt today’s teens would even put up with more than a few minutes. But, I will always hold Betty Blue close to my heart. However, I threw my poster away when I left home in 1990. I would not see Beatrice Dalle again until her memorably unsettling supporting turn in Claire Denis’ Trouble Every Day.

Beatrice Dalle about to start a fire in The New French Extreme. Trouble Every Day, Claire Denis, 2001 Cinematography | Agnès Godard

Beatrice Dalle about to start a fire in The New French Extreme. Trouble Every Day, Claire Denis, 2001
Cinematography | Agnès Godard

I mentioned this film in my last post regarding The New French Extreme that emerged in the late 1990’s and into the 21 Century. It wasn’t until the credits rolled that I realized that I had just seen “my” Betty Blue do everything from cannibalism to self-destructive pyromania.  Trouble Every Day is an exceptional film. It may go a bit too far, but Denis has her reasons. Mainly, I had to face the fact Beatrice Dalle no loner looked like Betty Blue. Or did she?

Fresh, young, not so innocent and more than a little different. Beatrice Dalle as Betty Blue, Jean-Jacques Beineix. 1986. Cinematography | Jean-François Robin

Fresh, young, not so innocent and more than a little different. Beatrice Dalle as Betty Blue, Jean-Jacques Beineix. 1986. Cinematography | Jean-François Robin

Let’s be fair, it had been 15 years since I had seen her in anything. And yes, I know what you are thinking. No, I somehow missed Jim Jarmusch’s Night on Earth. Not sure how, but I did. Anyway, I know I changed a lot in 15 years. But is is disorienting when we see our movie stars age. Though it is probably far more disorienting for them. Beatrice Dalle would be cast in another key supporting role in Claire Denis’ L’intrus and in Michael Haneke’s Time of the Wolf. While she fit perfectly into Denis’ challenging film world, she seemed a bit out of place in Haneke’s movie. She gave a solid performance, but something about it seemed disconnected from the rest of the cast.

It wouldn’t be long before she re-entered the area of The New French Extreme again. This time Alexandre Bustill and Julien Maury reportedly begged her to star in their brutally surreal À l’intérieur / Inside. Putting the controversies of this film aside, you would be hard pressed to find a more effective actress for the horrific role of La Femme who only utters a few lines throughout the “ordeal” of horror / torture she inflicts. When Beatrice Dalle growls, “Let me in.” — it is truly terrifying. Despite the fact that Bustill and Maury

Beatrice Dalle wants to be let INSIDE, Julien Maury & Alexandre Bustillo, 2007.  Cinematography | Laurent Barès

Beatrice Dalle wants to be let INSIDE, Julien Maury & Alexandre Bustillo, 2007.
Cinematography | Laurent Barès

take the film to a level of disgustingly realistic gore. Before it is all over the gruesome onslaught escalates into an unspeakable act of brutal cruelty. Inside was a major sleeper hit. It has made even more money via the DVD/VOD markets. Inside is so cruel in its violence that I hesitate suggesting it to anyone. But it must be noted that Bustill and Maury created one of the most unnerving, scary and entertaining movies of that year. It is a surreal examination of guilt that has no appropriate boundaries.

"Let me in." Beatrice Dalle in INSIDE, Alexandre Bustillo &  Julien Maury Cinematography | Laurent Barès

“Let me in.” Beatrice Dalle in INSIDE, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

"Let me in!" Beatrice Dalle in INSIDE, Alexandre Bustillo &  Julien Maury Cinematography | Laurent Barès

“Let me in!” Beatrice Dalle in INSIDE, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

It may go way too far for many, but for those who can stomach it — one hell of an intense, horrifying and surprising ride awaits. A ride that is as metaphorical and surreal as it is repulsively shocking.

Beatrice Dalle & Alysson Paradis's arm in INSIDE, Alexandre Bustillo &  Julien Maury Cinematography | Laurent Barès

Beatrice Dalle & Alysson Paradis’s arm in INSIDE, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

Beatrice Dalle and Alysson Paradis are both outstanding in their respective roles, but the real success of the film is found in Dalle’s full-on ‘ownership’ of her disturbing presence. It is a slow, steady and all-too human level of insanity that Dalle channels into her character,  La Femme. It serves as a true gift to the filmmakers who utilize her allure to escalate the horror with each movement and minimal comment Dalle makes or states.

Beatrice Dalle's La Femme takes a cigarette break before she invokes more vengeance. INSIDE, Alexandre Bustillo &  Julien Maury Cinematography | Laurent Barès

Beatrice Dalle’s La Femme takes a cigarette break before she invokes more vengeance. INSIDE, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

This is one film that is not easily forgotten. In 2010 Dalle once again lent herself to Bustill and Maurys’ world of horror. Released in 2011, Livide failed to achieve the level of success and acclaim that Inside enjoyed. Livide is not extreme, but it is a disturbing and entertaining exorcise in horror. In a supporting role, Dalle once again leveraged her allure to help the filmmaker’s achieve their vision of a post-gothic blood lust.

Beatrice Dalle instructs her pupils in Livide, Alexandre Bustillo & Julien Maury Cinematography | Laurent Barès

Beatrice Dalle instructs her pupils in Livide, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

Livid failed to even gain release in the US/Canada. Though, it has attained a cult status in France and the UK. Rumors of a big budget Hollywood remake continue to spread.

Beatrice Dalle can still see you in Livide, Alexandre Bustillo & Julien Maury Cinematography | Laurent Barès

Beatrice Dalle can still see you in Livide, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

Dalle is one Ballet Instructor you do not want to ignore in Livide, Alexandre Bustillo & Julien Maury Cinematography | Laurent Barès

Dalle is one Ballet Instructor you do not want to ignore in Livide, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

Though, Dalle is given little screen time in Livid, it’s all the time required to set the tone of menace and tension.

To be fair, Beatrice Dalle did warn her little ballerina in Livide, Alexandre Bustillo & Julien Maury Cinematography | Laurent Barès

To be fair, Beatrice Dalle did warn her little ballerina in Livide, Alexandre Bustillo & Julien Maury
Cinematography | Laurent Barès

But, Dalle found her way in the leading role of Patric Chiha’s Domain. Released in France in 2009 and the US in 2011, this film perplexed many film critics. In France it was greeted with mixed reviews but generated discussion around the power of Beatrice Dalle — and, perhaps most interestingly, the focus of mathematics’ impact explored within the framework of Chiha’s detached cinematic study. The main reason I sought this film out before it was actually “released” in the US was related American Rebel Film Artist, John Water’s passionate praise. One must understand that much of what John Waters likes about this film is exactly why many will hate it. I loved this movie, but not for anywhere near the same reasons Waters praised it.

Beatrice Dalle stars in Domain, Patric Chiha, 2009.  Cinematography | Pascal Poucet

Beatrice Dalle stars in Domain, Patric Chiha, 2009.
Cinematography | Pascal Poucet

Patric Chiha’s DOMAIN generates disarming level of tension and the inappropriateness that is constantly brewing beneath the surface as the movie takes the audience on a series of walks. The relationship is between a bored and openly gay 17 year old nephew and his admittedly eccentric aunt, Nadia. Nadia is a respected Mathematician who seems to approach math as a more of a philosophy than a science. Her obsession with the interplay and precision of numbers and logic seem to do more than influence the way she approaches life — it seems to trigger something far more worrying within her psyche. Instead of falling on the Hollywood-like caricature of mathematician or scientist as being “crazy” — Chiha uses Nadia’s mathematical obsession to point out the fact that Nadia is all too aware of her looming descent toward self-destruction which could  be fully induced by her obsessive ideas as easily as by her growing alcoholism. Nadia is not insane, she is surprisingly self aware. Nadia clearly understands that her obsession with the deductive and/or formal theory of the axiom / theorem has inverted and greatly limited her grasp of logic as it relates to daily life. While Chiha is wise is never fully articulating Nadia’s mental and addictive disorders because it allows the audience to specutlate on wether or not Nadia’s fears based in mathematical elements are grounded or have created a perverse manifestation into her inertia and dangerous addictions. It is within the distorted framework of Nadia’s reality that Chiha achieves a perfectly matched level of tempo with his leading lady that lends an even deeper of layer of tension. There is a consistent feeling that her nephew’s love and his need to slip into her life that could potentially lead to her deepest fear: this could be the ideal combination to set off a literal  chaos theory from which she might never escape. Further to the point, that element of chaos could also pull her nephew into a virtual black whole.

Beatrice Dalle's Nadia's love of mathematic theory sets the pace of her long walks in  Domain, Patric Chiha, 2009.  Cinematography | Pascal Poucet

Beatrice Dalle’s Nadia’s love of mathematic theory sets the pace of her long walks in Domain, Patric Chiha, 2009.
Cinematography | Pascal Poucet

The pace is often purposely slow. It is thanks to the pace that Nadia and Pierre bond forms in a believable way. Their shared walks through Nadia’s favorite areas of Paris, began to offer the audience insight into her fragile grasp of reality. The walks gradually intensify as Nadia begins to elaborate on logic-based theories that have no rational relationship to the surroundings and topics she discusses. Pierre, just on the cusp of a full adulthood formed within the protective cocoon of the upper-middle class, is still too naive to understand Nadia’s ramblings. To Pierre, his aunt in an enchanting and brilliant woman. It is to Beatrice Dalle’s skill that we pick up the sense that as much as she doesn’t want to pull her nephew into life — His adoration and attention are too enticing for her to reject. Instead of recognizing the vacancy and suspect nature of Nadia’s “friendships” Pierre begins to eroticize them. It is within the confines of what appears to be a gay dance club that the film dips its toe into the surreal.

Nadia leads her nephew into a deceptive world of glam that seems to almost slow to the most minimal level of dance movement. Domain, Patric Chiha, 2009. Cinematography | Pascal Poucet

Nadia leads her nephew into a deceptive world of glam that seems to almost slow to the most minimal level of dance movement. Domain, Patric Chiha, 2009.
Cinematography | Pascal Poucet

It is as if Pierre has slipped into a whole other level of reality as he attempts to find a groove into not only the beat of the dance, but into Nadia’s deconstructed interpretation of the electronic music. As Pierre discovers his aunt’s beat, his perception of reality begins to twist. What appears to be a seedy gay dance club mixes with the cigarette smoke and morphs into an erotic world where everything slows down to equate itself to Nadia’s perverse Theorem. From Pierre’s limited perspective, Nadia is the primary center of this world. It is at this point that an uneasy and inappropriate bond forms between aunt and nephew. Pierre has become a key component in Nadia’s skewed logic of reality. This is a reality ruled entirely by Nadia’s twisted Mathematical Theorem. Once again, she is aware of the problem her life’s equation has created, but there is no turning back for her or Pierre as they begin a danger-fueled and perverse dance. The blunt editing, Pascal Poucet’s self-conscious cinematography, Beatrice Dalle’s performance (in which her strange beauty is just as essential as her casually corrupt read on Nadia) blend seamlessly with the naturalistically innocent charm Isaïe Sultan brings to Pierre and forms into a cinematic stew.  It is stew that tastes a great deal like something from the cinematic alchemy of Chabrol or Hitchcock. This comparison might insult certain lovers of  both iconic filmmakers, buy it rings true.

Beatrice Dalle lost in the pulsating rhythms of number logic in Domain, Patric Chiha, 2009.  Cinematography |  Pascal Poucet

Beatrice Dalle lost in the pulsating rhythms of number logic in Domain, Patric Chiha, 2009.
Cinematography |
Pascal Poucet

 

So much walking, thinking and precise living to be done, so little time to waste on comfort. Beatrice Dalle & Isaïe Sultan in Domain, Patric Chiha, 2009. Cinematography | Pascal Poucet

So much walking, thinking and precise living to be done, so little time to waste on comfort. Beatrice Dalle & Isaïe Sultan in Domain, Patric Chiha, 2009.
Cinematography | Pascal Poucet

Béatrice Dalle sensuously pulls Pierre into the slips and slides in her world of mathematical obsessions, perverse pleasures and addictions. For a while his unconditional devotion seems to propel his aunt forward. And despite his mother’s concerned warnings and Nadia’s own instinct to pull away, Pierre is hooked to Nadia’s tragic flamboyancy. As the audience begins to really feel the ever-growing danger. This odd woman is capable of harm. Harm that could come at any moment. It is impossible not to note that over the years Béatrice Dalle’s once unique beauty has taken on an unsettling quality. It is so easy to get lost in her face, movements and voice. Her beauty and eroticism give the feeling that it could all unhinge into something ugly and verge into a Chaos Theory of a whole new logical dimension. It would be foolish to underestimate Béatrice Dalle skill and Patric Chiha’s movie walks, stumbles and titters its way to a conclusion that, depending on the viewer’s sensibilities, could be correctly interpreted as either benignly abrupt or alarmingly horrific. It is to Patric Chiha’s benefit that he applies the same level of precision that Nadia so admires in the measured way he gives us the exact amount of information to pull us in.

Isaïe Sultan gently kisses his aunt, Beatrice Dalle in Domain, Patric Chiha, 2009. Cinematography | Pascal Poucet

Isaïe Sultan gently kisses his aunt, Beatrice Dalle in Domain, Patric Chiha, 2009.
Cinematography | Pascal Poucet

And he carefully dispenses too little for us to really know for sure where he has taken the aunt and her adoring nephew. It is a surprisingly potent conclusion.  Domain has held my attention since I first saw it. I often come back Domain. I always discover new aspects relating to mathematical theories, perceptions, philosophy, cinematography and vexing performances that do more than just engage us — these actors, Béatrice Dalle most notably — threaten us.  The film takes on an almost hypnotic quality.

Beatrice Dalle leads Isaïe Sultan on a series of walks that become more worrying with each step in Domain, Patric Chiha, 2009. Cinematography | Pascal Poucet

Beatrice Dalle leads Isaïe Sultan on a series of walks that become more worrying with each step in Domain, Patric Chiha, 2009.
Cinematography | Pascal Poucet

And Patric Chiha’s clever manipulation of tone is consistently creeping with tension and ever-present danger.My admiration for Domain has continued to grow. I’d be surprised for anyone to find it boring. I’d be even more surprised if someone found anything about it that is particularly familiar beyond the clear but loose thread to Chabrol or Hitchcock. Domain occupies its own quirky place. As does the woman who once adored more dorm rooms that we could count.

Béatrice Dalle Paris, 2007 Photograph | Kate Barry

Béatrice Dalle
Paris, 2007
Photograph | Kate Barry

I want to stress that this should not be taken as a direct quote, but I do know that Béatrice Dalle was once asked how she goes about choosing her roles, films or filmmakers with whom she wants to work. This is from my memory and I haven’t had time to search the Internet to get the actual quote. I seem to remember this question was in relation to the promotion of Claire Denis’ Trouble Every Day. But I’m confident in providing a summation of her response which was both immediate and and interesting:

I don’t choose the director as much as the director chooses me. And you must trust the artist and follow where that leads.