The Editions Dis Voir publication, Bruno Dumont, opens with a short chapter entitled The Work of a Filmmaker that seems to characterize Dumont’s films within the context of the distinctive cinema of Robert Bresson. Through referential allusion to the informal, fragmented passages of Bresson’s Notes on the Cinematographer, Dumont’s artistic methodology, similarly captured in kernelled […]
Bruno Dumont returns to the desolate pastoral and emotional landscapes of his earlier features L’Humanité and Life of Jesus in Flanders, an austere, tonal, and visceral exposition into the integral nature of violence, sexuality, desire, and instinctual survival. A rugged young farmer, Demester (Samuel Boidin) impassively harvests his dessicated, autumnal fields before finding his neighbor […]
In the opening remarks for the film, Bruno Dumont described Twentynine Palms as experimental film in articulating sensation without narrative through abstract, dissociated forms, teasingly remarking that “a Manet without figures is a Rothko”. An American photographer named David (David Wissak) and his French-speaking, Eastern European lover Katia (Yekaterina Golubeva) set off from Los Angeles […]