A famous filmmaker works on his next film, which will focus on monstrosity. He is obsessed by the idea of finding a painting that will be central to the film and will crystallize all the power and beauty of monsters.
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A meta-remake of Vertigo with a dash of Louis Bunuel (That Obscure Object of Desire) and Jem Cohen (Museum Hours). A very long short or possibly a very short feature. The deliberately repetitive and recursive structure is interrupted by an oneiric vignette of a dionysiac party that lingers in your mind. The whole thing could easily be misinterpreted as a Sophia Calle's performance.
Palimpsest of 'Le dos rouge,' which I haven't seen but would like to see now. People throwing 'pretentious' at this one aren't hip to the fact that the art/museum bits are obviously meant to be satirical.
Impressive piece of work (that made me even more curious of the original version and frustrated me somehow). Clever on so many levels, the two actresses, the stain, and this pleasure to be introduced into all-time masterpieces thanks to interesting commentaries. Where is the monster ? Everywhere, if you develop your eye and your imagination to be able to see it. (and "Vertigo" also, by the way, is almost everywhere).
A remarkably thoughtful film on desire. Beauty everywhere & yet the search for the monster -who appears in paintings, and even in the (Bunuel-esque) doubling of the art expert. Scenes located largely in art galleries, in the end I thought the monster is inside the art, within its forms and messages, its lines and painted surfaces. What is monstrous an inscrutable part of the artist, the creative process, the audience
A companion piece to Le Dos Rouge, which I have yet to see, this also serves as a fun meditation on art, what people project upon it, what bounces back, and interactions between men and women using the art around them as a stimulus for conversation, and more. Not exactly enthralling throughout, this is nevertheless surprisingly enjoyable, interesting, and witty.
Jeanne Balibar as charming as I've ever seen her. You can see she's having a ball, which points to how this is a satire ppl should take as such (the pretention seems self-aware to me).
Yet it could have been quite a lot shorter.
'Rouge' is described as a companion piece to 'Le Dos Rouge', but I think it is more of a radical re-edit (although I haven't watched 'Le Dos Rouge'). This film starts with Bonello trying to find the perfect image of monstrosity for a film and as he & his art advisor examine various paintings, it gets weirder. The film is brazenly arthouse in its approach and sometimes I thought it was too pretentious to endure.