Ohlala, quelle histore! Ce film m'a vraiment frappée, donc il doit être forcement beau, car je me sens encore bouleversée par sentiments très différents tous à la fois: au début, une sorte de pitié pour un bande à part des gars se transforme en dégoût, et puis, en honte immense.«Fremdschämen» les allemands diraient pour exprimer l'embarras due à une action perpétrés par d'autres. Enfin, un accès de rage et désespoir.
There's a stunning confidence to this debut. What I found most impressive was the natural ease and rhythm of the piece through which Dumont manages to portray the monotonous provincial life in a way that never feels boring - to me these are cinematic virtues that are more important than the "extremity" aspects with which he is associated. He achieves a poetry yet does not compromise the exploration of human ugliness.
A director's first film contains everything they are ever interested in. At least in Bruno Dumont's case, whose first film perfectly captures the mundane, terrifying and spectacular experience of living. Dumont's pin-sharp direction, the gorgeous cinematography with its closeups and lush naturalism, an elliptical yet evocative narrative; all support the central idea that every day is a test, a search for grace.
It's always interesting and stimulating to see an established director's first feature in order to trace his/her progress as a filmmaker and author up to today; Bruno Dumont's first work is narratively simple but it successfully portraits the provinciality and boredom of everyday life within a gang of young friends; on a stylistical level, I found a few similarities with the Dardenne brothers in its approach. 3/5
A mesmerising debut, almost polished in comparison to his later works while featuring all of the elements later used in varying degrees. The actions of the characters are brutal but Dumont colours them into three dimensions, showing us motive without justifying the action. He begins his career here by carrying on the path of British directors like Alan Clarke by providing an unbiased voice for the underclass.
This is a brilliant introduction to Dumont's cinematic experience and his other movies such as Flandres, Humanity or 29 Palms. Realistic gospel-style drama with non-professional actors, full of character, and deep psycho-analysis of life in northern French rural provincial town with wider social reflections on unemployment, immigration and sexuality in bucolic naturalistic surrounding.
Some impressively raw central performances help to make this drama an interesting and occasionally mesmerising watch. It could have done with something extra in the mix (perhaps a stronger sense that some of the main characters may be putting themselves in a dangerous situation) but this is an assured debut from writer-director Bruno Dumont.
Dumont explores with bradycardia and parsimony and a great deal of compassion the phenomenon of the millenial NEETs, or yobs if you prefer. Despite the film's uncomfortable simplicity and aparent lack of ambition there lies within its soporific cadence a reportedly non-judgemental but still strongly political, philosophical and humanistic allegation against these our conflicting and globalised societies.
Truly beautiful and gripping piece of filmmaking. The first film i have seen by Bruno Dumont has left me full of excitement to watch more. I felt like sorry for the mundane and slow existence lead by the main characters. Bringing back memories of my own childhood despite being a world away.
Feels properly in line with the existential youth-tinted angst of the new wave, and Dumont's level of detachment, searching for grace in a place crippled by miserabilist depravity and racial tension, is infrequently brutal. Probably as essential as La Haine as far as the late nineties renaissance of French social realism goes.