France indecisively utilizes a news personality’s crocodile tears as as symbolic of the bad faith that pervades news discourse.
Dumont’s philosophical tragi-comedy receives a gorgeous 4K digital restoration and insightful range of contextualizing interviews.
Criterion resurrects one of the great debut features of the last 25 years with an impressive 4K transfer and informative extras.
These are three enigmatic, challenging, and weird works of art by filmmakers pushing at the boundaries of the cinematic form.
Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
The film admirable in its defiance of recognizable modes and its naked showcase of Dumont’s exploding imagination.
The flexibility of French director Bruno Dumont’s spiritualism makes the film compelling.
Bruno Dumont’s formalism is charged with a spark of simultaneously controlled and spontaneous mystery.
Cruelty here can feel cheap, perhaps a result of Dumont not knowing how to effectively command comedy yet.
Kino offers a Blu-ray that responds with, in the words of Commandant Van der Weyden: “Hope my ass!”
It functions as a summation of Dumont’s thematic interests over the previous two decades and as a bonkers remake of L’Humanité.
Juliette Binoche’s face, as we know, can tell a million stories in a simple and brief rearrangement of her facial muscles.
Wanting neither for rumination nor provocation, Hors Satan effectively splits the difference between Hadewijch and Bruno Dumont’s earlier films.
Bruno Dumont’s Outside Satan isn’t alive to nature’s movement.
Immigration politics are at the forefront of Le Havre.
If Cannes is the cinephile’s version of the Olympics, the media critics covering the event are its long-distance runners.
Hadewijch ultimately seems just as calculated and mechanical a pose as Bruno Dumont’s previous efforts.
Bruno Dumont offers another spare existentialist portrait of modern man, once again insisting we are animals driven by primal hungers.
Bruno Dumont is clearly fascinated by America’s wide-open spaces, and much of Twentynine Palms is a love poem to the way we look at the world.