Perhaps this asks questions of the viewer's relationship to the provinces and the working classes; the muted members of society. The quietude is explosive, giving all possibilities but choosing only one - this conversly makes the simple lives more mysterious, profound. Does the film emerge coherently from Courbet's "L'Origine du monde", Duchamp's "Étant donnés"?
Essential cinema. Dumont's second feature was a 3 time award winner at Cannes including the Grand Prix and two acting awards for its non-professional leads Emmanuel Schotte (who to date has never acted again) and Severine Caneele. Scripting was excellent with an understory of a child's murder being supplanted within the lives of a triangle of damaged people. Miserable, sexually frank and disturbing but mesmerizing.
I found the movie to be captivating,ive never seen a film that forces the viewer to slow down and watch lifes intricacies ,I found it a refreshing change from the big Hollywood films that force you to speed up.
I also applaud the male and female leads on sterling performances.
Cinema Verite as the Anthropological Experience. Regulated humanism; memorium time capsules of inhabitable analyses. Thankful I am to transcendental historians - like Dumont, Denis, Costa, and Reygadas - for their patient exposures. Cinema as the way of the Historian.
A french village idiot assumes the figure of a reencarnated Christ to forgive the sins of the human race. It's pretentious, it's slow, it's boring, and it's supposed to be mystic (I would say it's just silly). Nevertheless, it's true that "L'Humanité" has its moments, but to watch a retard play Christ for two hours and a half is simply unbearable.
baroque music gone mad and rusty tools lying in grass at the beginning make its statement, humanite is a discouraging character study and a mixtape of all dumont's themes, it's the most tedious of his movies, but at the end you feel that not a second was a waste of time, the chilling twist at the end is much less unexpected than the way dumont orchestrates it