Author Topic: Camille Claudel, 1915  (Read 1881 times)

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wilder

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Camille Claudel, 1915
« on: February 11, 2013, 05:57:10 PM »
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Winter, 1915. Confined by her family to an asylum in the South of France - where she will never sculpt again - the chronicle of Camille Claudel's reclusive life, as she waits for a visit from her brother, Paul Claudel.

Written and Directed by Bruno Dumont
Starring Juliette Binoche, Jean-Luc Vincent, and Emmanuel Kauffman
Release Date - October 16, 2013 (NY)

« Last Edit: August 04, 2013, 10:30:18 PM by wilderesque »

jenkins

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Re: Camille Claudel, 1915
« Reply #1 on: February 15, 2013, 12:44:02 AM »
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bruno! bruno! bruno!

this movie might suck. don't know/care. hadewijch is the movie that made me realize people just follow their narrowed set of passions toward an idiosyncratic ideal of perfect cinema. lol @ all those words. but for real, hadewijch is a bit janky message-wise and totally legit cinema-wise. people don't care about cinema, they care about things reflecting their personal perceptions. it's cool, i'm dying too. can't wait for this movie

wilder

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Re: Camille Claudel, 1915
« Reply #2 on: February 15, 2013, 12:46:08 AM »
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hadewijch is a bit janky message-wise and totally legit cinema-wise.

I'm not sure what you meant by the rest of all that but I agree with this bit.

jenkins

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Re: Camille Claudel, 1915
« Reply #3 on: February 15, 2013, 12:55:13 AM »
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lol. glad you responded quickly enough so i can clarify.

i been doin cinema for some time. i neither think it was perfect in a "golden era" nor think it's perfect now. the art changes, sure. cinema changes. people don't change. this is a kindof cultural philosophy i'm talking about. the idea that technology hurts us, the idea that technology helps us. both bogus. people just people. did we perfect pottery? fuck if i know

godard, duh, talked about it. "what is art? form becoming style; but the style is the man; therefore art is the humanizing of forms."

and so i'm into the advancement of cinema, it makes me smile. but it'll be damned like all arts are. we're just trying.

i like the tries, you know

wilder

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Re: Camille Claudel, 1915
« Reply #4 on: February 20, 2013, 05:24:52 PM »
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Berlin Interview: Juliette Binoche On 'Camille Claudel' & Working With Haneke, Minghella, Carax & Kiarostami
via The Playlist

Like most of director Bruno Dumont’s films, “Camille Claudel 1915” has proven divisive (you can read our take here), but one thing that critics on both sides of the fence are in unanimous agreement about is the quality of the central performance from Juliette Binoche. Economically contained and internalised, even when her Claudel is displaying some rare histrionics, Binoche invests the role with oceanic depths and undercurrents of conflicting emotion in a turn that in some ways can almost be seen as the stripped-away template for the kind of melancholic, tragic, tortured heroine with which she has made her name.

During an enjoyable and intimate (no seriously -- we were alone in a bedroom) interview with Binoche at the Berlin International Film Festival last week, we got to talk about her approach to this role, her sometimes friction-y relationships with the various auteur directors she has worked with (often more than once), and her aforementioned tragic air, which was borne out by the seriousness with which she answered our questions, and then regularly belied by frequent peals of totally infectious and uninhibited laughter, usually directed at herself.

“Camille Claudel 1915” feels resolutely anti-dramatic. Is it a film mostly about absence of love, of creativity, of companionship?
I would say "abnegation." [Claudel had] been put on the outside of society, and the outside of her family, and on the outside of herself, of her possible creativity. They wanted her to be creative but she refused it, it would have meant accepting her situation which she never accepted to the end of her life. But it puts her in a situation where she’s not herself… And when you push so much into a corner of yourself you have to find what’s inside in order to survive. I think her spiritual life probably opened up at that time.
Her brother wrote that he went to see her two weeks before she died and he saw the happiest expression on her face as if she had reached some sort of bliss before going. So you think, "Wow! Life has taken everything away from her and she has been to the nothingness of her being, the poorest, the coldest, the most unjust thing that ever happened and she was able to find a way of surviving." And that is fascinating.

Did the challenge of portraying someone so passionate, but so oppressed attract you to the role?
Actually I didn’t even question the role, I just knew I wanted to work with Dumont. Because to me he is the most talented director in France. And I have nostalgia for Tarkovsky and Dreyer and because I cannot shoot with them, I’m gonna "invent" a Dreyer relationship! [And there is] that melancholia I have, and Dumont is closest, in a way, to that world.
And so when he had the idea of 'Camille Claudel' I was thrilled because I had already plugged in some sort of relationship with her -- I was taken by her passion and also touched by what she had to go through… Of course dealing with insanity it was a big question to me because as a teenager I experienced going to psychiatric hospitals because one member of my family had been through these places. So I kind of knew the surroundings, but at the same time playing it was a different story, and I was scared. So that’s why I said... "I want to have a coach because this is a scary area and if I have to go there, I want to come back."

[Dumont] didn’t take it nicely at first, he said “You don’t trust me to direct, I know how to direct” and I said “It’s not about that. You have to trust me also as an actor, and if you don’t want to give me the script, I have to trust you... but it’s half/half -- it can’t just be one way.”

Dumont refused to give you the script in advance?
He said, “You don’t read the script.” But then I was trying to extract from him some information about the story. And we had kind of regular lunches and dinners, and I said give me at least -- I know it’s three days of her life -- but what’s happening day one, day two. And he started telling me, and I was so happy we were in a restaurant that had paper napkins so I could write down everything he was saying as quickly as possible “Slow down, slow down!”

So you improvised off your napkin script?
Well, then he said, “Now you just have to read Camille’s letters and be inspired by her so much that you’ll speak like her.” I said, "Are you kidding? I don’t speak like her, I don’t think that way -- it’s a century ago, it’s a different world.” So he gave me the monologue with the doctor, the monologue with the brother. I was so happy! But he also said “I want you to improvise!” So I said, “Okay, you mean use my words” and he said yes.

So I worked on the computer and rewrote her lines and tried to find a way of how I would say things, and I sent it to him and he said “No! You forgot that expression, that thing there that she said…” So I said, “Oh, I understand now what you want -- you want exactly her words, but all improvised!” And he said, “Yes, that’s exactly it.”

How did you work to this contradictory direction?
What I understood by his use of the word "improvisation" was just "truth." So the choice of having no make up at all was already having nothing between me and the camera, so in a way this acceptance of being "bare" was my "safe hands" -- what was revealed had to be taken, there were no defenses for me. Camille too was probably so vulnerable in this environment that it was a good start for this role.

How was it to work with non-actors in this film?
I’ve worked with non-actors before, but this was specific, they had handicaps, they were patients. And we didn’t know whether they were able to do a second take, and as an actor you always wish for a second take in order to explore differently…[But] I think in the human being, no matter what, playing -- the "game" thing -- is in all of us, because it’s a way of learning about life. Like children playing a game over and over, and reliving it, it’s a way of printing it inside of you.

And so the patients treated it like a game?
Absolutely, and they were able to repeat it. And that was the fascination of working with patients -- playing within a human structure.

One of the other times you worked with first-time actors was on a favourite film of ours, “Certified Copy” for Abbas Kiarostami. He spoke of wanting to work with you again -- will that happen?
Oh, I love to work with Abbas, I love him. I love his movies and it’s so freeing to work with him, he’s just allowing life. And he likes details -- small things. He’s been starting to write a script with Jean-Claude Carriere [who wrote the screenplay for Binoche’s international breakout “The Unbearable Lightness of Being” among many other credits] but… we’ve been missing each other. We’ll see how things how things go.

But you definitely are reuniting with Olivier Assays for “Since Maria” a film he descirbed as “A Juliette Binoche movie about Juliette Binoche with Juliette Binoche”?
About Juliette Binoche? Well, we’ll see about that.! Because he probably thinks it’s about Juliette Binoche but he doesn’t know me that well, so we’ll talk about that!

It will mark yet another instance of you reteaming with a director. Does the experience differ between the first and second time you work for the same director?
Yes, each time it’s different. With Haneke for example, “Code Unknown” and “Cache” were very different experiences. The first time, with “Code Unknown” it felt like he could scan me and…see inside of me. It was almost scary, I was like “Wow, this man is a clairvoyant!" because he could really trigger what was happening [to me]. But “Cache,” maybe it’s because of the title and the subject, at the beginning I felt he was totally oblivious to what I was doing, not understanding what I was going through. I think his focus was more on the male character. And when I was like “Hey, hey, what about me?” all of sudden he started picking up on everything I did and I was “Go back to the man! I don’t need you” It was funny. But I felt I had a different experience, I have to say. Who else do you mean?

Well, Leos Carax?
Carax was a long time ago but they were very different experiences. You know, “Mauvais Sang” was the beginning of our work together and our relationship as well, and there was a lot of admiration and a lot of fascination but it was not yet a real relationship, and after that we were together. And "Lovers [on the Bridge]" was so hard to make because of money issues and the journey of that film was such an experience of trust and resistence and muscles and belief… you really had to believe.

Anthony Minghella with “The English Patient” and “Breaking and Entering” -- was also very different. He had become this huge director, recognised all over, he had another stature, whereas on 'English Patient’ it was just an English director doing his first big film. When we make films usually there’s a lot of feelings between directors and actors, because you work with your heart and in the presence of each other. There was a lot of love but at the same time [the second time] I felt like I had lost him in some way. I mean, you don’t possess anyone, but it was not the same relationship we had…

And now you’re signed onto “Words and Pictures” for Fred Schepisi with Clive Owen?
It’s funny because that film, I read it and I kind of liked it, but I wasn’t sure, so I said no to it. Then they went with another actress and it didn’t work out, something happened and they came back again, and it feels like… it happens in life that something comes back to you and you don’t understand it until suddenly it’s “OK, I understand. Now I’m gonna do it.” They [had] reworked some of the script but I think mostly it’s me changing. Sometimes when things come back, you’ve got to think a little more…

In it you’ll play a painter. Will they be using your own paintings as has happened before [in “The Lovers on the Bridge” for example]?
Yes, well it seems that it’s going to be my paintings. [Panicked look] I’m going to have to get to work on them...

wilder

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Re: Camille Claudel, 1915
« Reply #5 on: August 04, 2013, 10:28:31 PM »
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Opens in New York on October 16, 2013

wilder

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Re: Camille Claudel, 1915
« Reply #6 on: September 19, 2013, 09:43:34 PM »
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Kino Lorber Acquires Bruno Dumont's Camille Claudel 1915
via blu-ray.com

Kino Lorber officially announced today that it has acquired all U.S. rights to renowned director Bruno Dumont's latest film Camille Claudel 1915 (2013), starring Juliette Binoche, Jean-Luc Vincent, and Emmanuel Kauffman.

The film is set to begin its national theatrical run on October 16, with an exclusive engagement at New York's Film Forum - before opening in other major markets during the winter of 2013/2014.

This deal continues a long-standing relationship between Kino Lorber CEO Richard Lorber and director Bruno Dumont, as Mr. Lorber released Mr. Dumont's first two films in the U.S. (The Life of Jesus and Humanité). The current deal was negotiated between Kino Lorber CEO Richard Lorber and Wild Bunch's Head of International Sales Carole Baraton.

"As a long time admirer of Bruno Dumont's work (from the early days launching his first two films,) it's a special pleasure to be involved with the powerful and poignant Camille Claudel 1915," said Kino Lorber CEO Richard Lorber.

"It also gives us the wonderful opportunity to work again with Juliette Binoche," he continued, "who delivered one of her greatest and most heart wrenching performances. We believe this is one of the finest new "auteur" films to emerge from France in many years and it's an honor to bring Bruno back to the American audiences that have appreciated his vision and cinematic intelligence."

In Camille Claudel 1915, Juliette Binoche gives a mesmerizing performance as Auguste Rodin's protégé (and later his mistress), and sister of the Christian/mystic poet Paul Claudel. Inspired by the correspondence between this famous brother and sister, Bruno Dumont focuses on Camille Claudel's endless vigil as she struggles to find understanding and recognition as an artist - and to receive a visit from her beloved brother while confined to a mental institution.

Working once again with non-professional actors, writer/director Bruno Dumont cast mentally handicapped people to play the patients at the clinic where Camille Claudel has been confined to - and withers away until her death at the age of 79. While the camera rarely ventures outside of her prison's thick walls, Camille Claudel's 29-year ordeal in this asylum is in itself a tale of defiance against social norms - and a testament to the power of creativity and fortitude.

jenkins

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Re: Camille Claudel, 1915
« Reply #7 on: September 19, 2013, 09:56:36 PM »
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this movie will for sure produce a wilderesque/tcmj hangout. excited

jenkins

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Re: Camille Claudel, 1915
« Reply #8 on: January 05, 2014, 12:00:02 PM »
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^^for sure has all the right ingredients, except idk when this played la or if it did and apparently it's too late now! headed to other cities, headed to fucking albuquerque (wtf is that? sounds make believe). bastards was here for a day or never at all! what's the plan for a touch of sin?!? this is cruel and punishing on my theater possibilities and i'm so pissed. raging. fuck. fuck everyone, i'll be in my trailer, don't bother me. i have coffee but it's not for anyone else lol. i'll be in my trailer

(edit)
while in my trailer i found a touch of sin's release date and place. phfeww

wilder

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Re: Camille Claudel, 1915
« Reply #9 on: March 26, 2014, 11:57:29 PM »
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This is on Netflix now

jenkins

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Re: Camille Claudel, 1915
« Reply #10 on: March 27, 2014, 06:52:22 PM »
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thanks for the fyi. watched it asap

i felt emotional. felt reflective. felt worried. and oddly spirited. i want to rewatch all dumont's movies while staying in a wooded cabin. then i'll fish for a while, write letters to loved ones, and buy a telescope

 

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