Not familiar with that. Looked it up and can’t find any inf on it.
I couldn’t find any thing on it either.
oh i’m sorry i could swear i attached the film there somehow i was talking about THE INTRUDER, Claire Denis’s L’Intrus, the title of the thread is what the film is for Denis.
Then I agree, one of the most beautiful films ever made, yes.
Oh, thank Gawd. I thought this thread was gonna be about James Cameron’s soggy epic from 12 years back: The Little Tugboat that Couldn’t.
Cheers,
Steve
CinemaUprising.Blogspot.com
That’s such an amazing film. So full and deep, and, yes, gorgeous. One of my favourites from the decade so far.
So i’ve never seen a Claire Denise film and have seen a lot of positive buzz on this sight. What do people like in this film in particular and does anyone have a link to a trailer or anything? Very intrigued. Thanks to anyone.
Jesse,
The Intruder is one of the best films of the decade. Its like one of those dream that feel more real than reality.
Simplicity is the ultimate sophistication – Leonardo da Vinci
L’Intrus is a brilliant sophistication.The central character is a blank, but because he is central, he has power.
One doesn’t know the motivations of the power or the source of the power; thus, one can’t make a connection – so the relationships to this central character seem hyper-mysterious, things are adrift.
Katia Golubeva gave him his heart but returns as his conscience.
The film ends with Béatrice Dalle’s joie de vivre
I could only give rate this film a 10/10, because it is a style, a fashion, a treatment – people have been changing reality with narratives since the beginning:
I was told:
A man went over a hill and saw game.
He returned to the group and reported: ”I saw no game.”
I was asked what this represented, the first time it happened.
I said: “It was the first lie.”
The teller said: ”No, it was the first time man changed reality.”
Positively haunting. We see things peripherally. We don’t know where we are. How far we sometimes have to go to return to ourselves. But the way leads towards possession.
Beautiful words Robert,
One can talk about this film forever and still be short of things to say.
The Power indeed, it’s that mysterious power behind the non-character Louis wich holds grand part of the obscurity, the uneasiness, the way in wich the story avoids or simply doesn’t care for Tebors consistency, he simply is, what? who knows for sure, we know part of his roots in a heart-transplant text by philosopher Jean-Luc Nancy, or in the songs of a dying Johnny Cash, but also in Bruno Forestier, Comander Bruno forrestier (Le Petit Soldat / Beau Travail) making L’ Intrus an aproach to his epilogue maybe.
Denis makes it all probable and strangely tangible.
This time Subor’s non-character has/had more power than ever and interestingly enough the film chooses to treat this person’s past and power in a drastically obscured way, leaving it to be simply (?) the random and ellipctical seemingly last days/months and memories of an old man. His voyage, with Denis it’s always a voyage, a movement, this is her/his epic voyage through space and time. Or might as well be seen as an escape, or in the words of Adrian Martin: her characters seem to be dodging, avoiding, or finding a way to escape the “dead line” wich time has cursed the human body with.
I’m not sure how to rate this film or to describe my feelings about it. To say I loved it would not be quite right.
To call it fascinating and a compelling viewing would be more accurate. Haunting and interesting for sure.
Berjuan said (from STL): “I guess I’m being too harsh on him. One thing I also remenber now that we’re talking about the film is that when he goes back to Tahiti you realize that he was a good man… I don’t know he just seems to be going on about everything the wrong way. It puzzles me. How did he get like that?”
I didn’t get the sense that he was a good man. Did you get that sense because some of the people go out there way to help him?
Why does he go about things in the wrong way? I’m not sure. But the idea that we go looking for happiness in the wrong place—especially when the happiness is right next to us—seems to be part of the human condition.
“But the idea that we go looking for happiness in the wrong place—especially when the happiness is right next to us—seems to be part of the human condition.”
I agree, thats why I referred to him as “a men” (if that makes any sense). I think maybe as he grew, as he became who he is when we encounter him, he was conditioned by a world that converts everything into a transaction, a world that wants to define everything: land as countries and borders, money and posessions, and ourselves as simple living organism (organs). Is this film not in a way a story of the fall in a biblical sense? I feel that maybe this man was once someone good, someone that lived in innocence, how else would he have ever come across those people and places if he had always been who he is now?
@B
Wasn’t he some sort of merchant marine or working for some Navy when he first goes to Tahiti? If so, that wouldn’t make him a necessarily good person, right?
I got the sense that he has a dark past—he has shady friends; he has a lot of money; he seemed to easily—and without hesitation and remorse—kill the immigrant. (Why did he have to kill the guy?)
I think it comes down to what Robert W. Peabody III says about the character “the central character is a blank”
The main character is totally unknow to us. We know certain things about him, but they are all questions.
I feel like his ellusiveness is the ultimate act of intrution because he intrudes between us and the film.
@B
Well, I’m not sure what Robert means by that. I don’t know the character is “totally unknowable” to us. The fact that he kills someone so easily without remorse; and the fact that he can act callously towards his French son; surely tell us things about him, right?
“I feel like his ellusiveness is the ultimate act of intrution because he intrudes between us and the film.”
That reminds me. What other ways does the film bring up the idea of intruder/intrusion?
There’s the new heart as an “intruder;”
There’s Louis as an intruder into Tahiti;
There’s that girl who intrudes into Louis’ house (who was she? what happens to her? Do Louis’ dogs kill her? What’s the significance of her character in the film)?
There are the immigrants “intruding” into France;
Others?
Jazz,
I think those are all the intursions.
There are certain facts that we know about him but there is a blank in between, or are we just trying to make sense of nonsense?
Then there is also that island, but its very clear that this is not the first time he is there. Maybe he was a sociopath from the begining. (?)
X.A. Coronel
One of the most beautiful films ever made