Opiniões dos críticos

For Dumont, revisionist history — and revisionist filmmaking — is not a matter of do-over. It’s about starting over and for reasons that we must heed... In Joan of Arc (Jeanne), Dumont attempts to start over after Dreyer. His film poses a philosopher’s question that speaks to the morality of this moment: Can we start over?

[Joan of Arc isn't] as surreal and ridiculous as the director’s recent riotous work. But it’s a lyrical, defiantly listless, weird, enchanting, singular picture. It’s not for everyone, but those seeking a battle against the English staged in the medium of horse choreography will not be disappointed.

Dumont turns the tale into a dialectical spectacle: he stages military musters like Busby Berkeley productions, seethes at the torturers’ rationalizations, delights in hearing his actors declaim the scholars’ sophistries, and thrills in the pugnacious simplicity of Joan’s defiant responses, which reduce her captors’ pride to ridicule.

The visual aspects of the film cannot override the sometimes cumbersome dialogue that orientates political scenes of this subject matter. The script proceeds through rudimentary moments that are not helped by the bloated 137-minute runtime. Even though the visuals do carry the film in moments, it’s simply not enough when the moments are drawn out into insignificance.

Dumont’s depiction of the French priests who try her is striking. Eager to deliver her to “the secular arm,” so that she can be executed without their taking any responsibility, the men are egotistical, cynical and bombastic in a way that’s contemporary without breaking the particular period spell the movie creates.

[Compared to Jeannette, Joan of Arc] is a daring return to relative normalcy... [unfolding] as quiet, meditative character study, with the extraordinary Lise Leplat Prudhomme reprising her role as the child martyr and giving it a soulful centerpiece

Though it has a silly sense of humor, Joan Of Arc lacks a sense of surprise—something that can’t be said of other recent Dumont projects.

Out with Igorrr, in with Christophe, Jeanne is the wiser, raspier relative to the spry and turbulent Jeannette, exchanging the first film’s more radical and irreverent notes... with moments of contemplative grace.

An excruciating endurance test of epic proportions... this painfully dry account of a peasant-turned-saint choosing death by fire over the church feels like a wasted opportunity.

It achieves, much like Terrence Malick’s Palme d’Or contender A Hidden Life, the miraculous feat of simultaneously jibing at a dogmatic religious institution, while celebrating faith in all its mystery and baffling beauty.

[Joan of Arc] certainly feels the the heftier and (even) more arduous work of [Dumont's] two [films about the saint]: a slog, if you want it put in fewer words... A historical anti-musical that makes “Jeannette” look like “Moulin Rouge!” by comparison is going to win the filmmaker few converts.

Somehow Dumont manages to turn one of the most revolutionary, transgressive events of Western history into what feels like a three-hour bureaucratic proceeding... Watching “Jeanne” becomes a test of attrition: Exactly how much can you take?