Louis Malle meets Lewis Carroll in this bizarre and bewitching trip down the rabbit hole. After skirting the horrors of an unidentified war being waged in an anonymous countryside, a beautiful young woman (Cathryn Harrison) takes refuge in a remote farmhouse, where she becomes embroiled in the surreal domestic odyssey of a mysterious family. Evocatively shot by cinematographer Sven Nykvist, Black Moon is a Freudian tale of adolescent sexuality set in a postapocalyptic world of shifting identities and talking animals. It is one of Malle’s most experimental films and a cinematic daydream like no other. –The Criterion Collection
Louis Malle (born October 30, 1932, Thumeries, France—died November 23, 1995, Beverly Hills, California, U.S.) French motion-picture director whose eclectic films were noted for their emotional realism and stylistic simplicity.
Malle’s wealthy family resisted his early interest in film but allowed him to enter the Institute of Advanced Cinematographic Studies in Paris in 1950. After studying at the institute, he worked as an assistant to filmmaker Robert Bresson and codirected the documentary Le Monde du silence (1956; The Silent World) with underwater explorer Jacques-Yves Cousteau.
Malle’s first feature film, Ascenseur pour l’échafaud (1957; Frantic), was a psychological thriller. His second, Les Amants (1958; The Lovers), was a commercial success and established Malle and its star, Jeanne Moreau, in the film industry. The film’s lyrical love scenes, tracked with exquisite timing, exhibit Malle’s typically bold and uninhibited treatment of sensual themes. Social alienation… read more
An ineffable concoction: surreal gothic feminine fairytale dystopia; or, Malle does Jean Rollins, or something like it, Alice in a new, weird wonderland. From entomological viscera to mythical beasts - an elusive canvas, but rarely an uninteresting one, for Malle retains poise over his fantastical proceedings, in its unsettling concentration of atmosphere over its dialogues (spliced to begin with). If one were ever in doubt over assertions of his versatility, this batshit display must surely quell them.
Couldn't get it in the beginning, But its expected for the first viewing, later on in the film I felt Like im living a nightmare where logic is absent and everything is just intriguingly Bizarre, turn off your worries about what is real and what it means, and just observe how atmospheric and grotesque these two hours are, The very first film of Its kind for me, nearly Jodorowsky-esque but yet way beyond
I feel deeply touched by this film in a way that only makes sense on a personal, symbolic level. It is similar to Last Year at Marienbad, in that whatever meaning one attaches to it… read review