Despite a slow, dreadful process of Pharaon's investigation: It is going nowhere just as the film itself. The development of its plot and characters are so covert. When viewers are left wandering in a handful of not-so-probable possibilities in this realistic yet unreal world, the film then slowly, gently reminded us that we are already concerned about what it delivers, we are already under its firm manipulation.
The moment when Domino offers herself to Pharaon, seems like a key moment in their relationship. The view of her naked body after Pharaon rejects her 'offer' reminds of the view of the raped girl in the beginning. In the end, after he consoled Domino, Pharaon sits just like Joseph handcuffed in the police station, but smiles. Nature and the rural setting play some kind of role. But how to make sense of it all?
4,5. Every shot carries such a heavy density, like a sad painting or a crude portrait of reality - "L' Humanité" (?) it's funny how the film is about a murder and then it's everything but that. What a sensible touch of Dumont to catch the atmosphere of this "band à part" - another take on the very common french trios. Schotté's scene, near the end, (not) looking at the mirror is quite fascinating. It shows a man (+)
Dostoevskyan to the core and within the Bresson-Clouzot-Guitry problematic about the nascent evil in the 'idyllic' French province, this is a brilliant and magnanimous gift to the senses, the intellect and the soul of the viewer. Schotté's somnambulistic superintendent along with an exquisite cast is placed on a canvas of naturalistic ethics of care against the 'Grand Inquisitor' in us. An extraordinary film!
The film is certainly more about its characters than a murder investigation, oddly the writing doesn't really develop these characters so we can understand them or at least feel something for them. So we spend 142 minutes with blank characters taking walks, working, staring or having random sex. Odd. Not my cup of tea.
what is this stupidity? Oh sorry, french film winning at Cannes. The main character is totally unbearable, the film is entirely awful ( i am no film critic but a film is supposed to move you in some way). The only move this film produced is making me take the remote control and stop it from playing. Mubi Germany is in love with french films, 60% of them being like this one catastrophically bad.
Es ist nicht der Realismus eines Krimis, der an uns herangetragen wird, sondern die Tiefe der menschlichen Befindlichkeit. Der Film ist dabei kompromißlos: durch seine unerbittliche Langsamkeit, die vom Erwarteten abweichenden Verhaltensweisen der Akteure, die Gewalttätigkeit der dargestellten Sexualität und schamlose Empathie. Da ähnelt er sehr den Filmen Bressons. Entschleunigung als Bedingung für Achtsamkeit!
What I think first drew me to the early Dumonts was a combination of the flagrantly picturesque and fantastically grotesque married to epic miserablism. Miserablism? Clearly I had not adequately allowed these movies to teach me how to watch them. In the wake of a couple Dumont comedies, I now see that 'touched' non-actor Emmanuel Schotté is equal parts Buster Keaton and Andy Kaufman, and the curious core of HUMANITÉ.