Darkness all encompassing, suffocating, but not constrictive. This grants life on PG's screen its greatest gift: lack of boundary. Lines blurred, borders ripped from the screen- nothing stops impending doom from probing in/out like a strobe light. Its anywhere and everywhere & focus is only when man chooses to tighten his grip on a poor soul wandering in his path. Light isnt restricted from entering; it dares not to.
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.
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.
Boring as a film, desperate and lazy as an addition to the New French Extremity genre, and ineffective as art. This film relied on mindless violence, which isn't even portrayed as graphically as it could, and nauseating camerawork to pass itself off as anything but the boring pseudo-art-horror film that it is. No character development, no logical transitions in story, and no depth.
"Sombre" parte de la conocida dialéctica sobre amantes de naturalezas opuestas, aunque ambos coincidiendo por su represión sexual: los son dos vírgenes e inexpertos. En su transcurso, una serie de disparos experimentales con poca relación en la trama más que por la personalidad perturbada del protagonista. Pura presunción.
as uncomfortable as i am with calling a film about a serial rapist/murder "impressionistic," that's really the way to describe it. grandrieux sets aside the moral histrionics, moneyshots and audience manipulation that usually attends "shock cinema" in favor of something peculiar and potent. <i>sombre</i> aestheticizes awful acts, but the lens it uses to do so is unlike all others. essential, if you can stomach it.
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 :|
Well... I had to struggle to make it until the end although I loved it. It's mind disturbing, philosophically deep and almost physically agressive (specially if you're a woman) but has such a rich and powerful cinematography that innovates in almost all sense the cinematographic language of the cadre, the focus, the exposition, etc to build a visual atmosphere you'll probably won't see in any other film.
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.