A car following the Tour de France. Children screaming in front of the puppet show. Women, often prostitutes, trying to scream as they are being strangled. Then he will meet Claire, the virgin who will give herself to him and perhaps deliver him from his malediction.
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for the billionth time, an intact hymen is an object of cult and ardent search. only the virgin with a white unicorn can tame the ogre. only the ogre can cure the mysanthrope. this time the unicorn is her sister. it's down there in the female groin that kali yuga begins. it's because she walks the street to make some cash that wars, famine and epidemics strike the earth. her womb carries the doom. highly original :|
A brute insidious, plundering, grovelling, that aye must lie, that wittingly, wilfully, aye must lie: For booty lusting, motley masked, self-hidden, shrouded, himself his booty— he—of truth the wooer? (Nietzsche, Thus Spoke Zarathustra)
Grandrieux: "The darkness is a possibility that something appears. You couldn’t see exactly what it is, and the difficulty to see is a strong link [...]. For me, it’s an access, also, the darkness, to the shape, to the form and to the story."
My interview with Grandrieux: http://specchioscuro.it/interview-philippe-grandrieux-intervista-grandrieux/
High concept: Alan Vega and a killer on the road. The film I had been waiting for my whole life. Be careful of fantasies. They can come true. It hollows me out. I don't always feel good about what makes me feel good (or not?). Here's the thing: Grandrieux is an explorer with form. He invents phantom textures. Also: of all the many, many artists to ever compare vaginas to the void ... he does it best.
I think for many people, it would only be too easy to dismiss this film based on the thematic content, but I firmly believe it to be a masterpiece. Grandrieux has created his own film language. Virtuoso cinematography and sound-design drowns the spectator in a deeply unsettling stupor. One of the most visually-stunning and original films I've encountered. I'll be struggling to shake this one off for days.
Sombre's darkness, it's intensity and high ambiguity is simply amazing to watch. A poem, a dream, something bigger than cinema perhaps.
Grandrieux is a filmmaker of the sense, he captures souls and expands minds, Grandrieux is a poet, a beast, a master.
And Sombre is one of the most beautiful creations of the history of cinema.
Wow, the person who chose the current still has no idea what Grandrieux is about. I hope this gets corrected. In fact, bored, tasteless users/editors need to stop playing with the stills, the grand majority were already perfectly selected by the best of them. This plastic "democracy" is getting annoying.
Accused of misogyny. Pff. The clue for me is in the final sequence shot: some men cannot be part of the system also trying in vain to get in. Grandrieux is master in express it with an extensive framing work; the camera gasps and trembles processing Jean's unpredictable yet self-distructive system, vice versa it dilates and relaxes in the surrouding placid indifference.