First station of the cross: things. The holy horror of things. An entire apparatus of masks, breastplates, umbrellas, nomadic objects, an entire bubble at once suffocating and over-oxygenated, cloistered and overexposed, operating like a greenhouse and preserving him from the great contamination of things. Not only, as has been said, was it viruses, germs, and bacteria. But life itself as a germ. The living as a bacterium. Matter, objects, and the very air he breathed as soon as he ventured beyond his dear Neverland became a source of infection, pestilence, a macabre obsession -- a school for cadavers. The dandies were like that. I mean the great dandies. The founders of the tradition. Jules Barbey d'Aurevilly. Beau Brummel. Wilde and his Dorian Gray. Red heels to dance on top of a world of vapors and humors. Makeup and artifices to...
- 7/1/2009
- by Bernard-Henri Lévy
- Huffington Post
- Love her or hate her, there’s no denying Catherine Breillat is a force to be reckoned with. Her oeuvre is filled with raw sexuality, mental illness and sibling rivalry. Unflinching in her portrayal of these issues has polarized critics and audiences alike. Some say her films feel cold and lifeless or that she’s playing for shock value. Her films certainly don’t tie things up in a bow. Whether it’s the multiple narratives in Sex is Comedy or the harsh mental world in Anatomy of Hell, her films aren’t easy to stomach, especially for audiences who consider Little Miss Sunshine to be innovative. She demystifies sexuality while recognizing the primal need for it. She’s also an interesting interview. She speaks little English so forgive me if this is short, but she didn’t hold anything back. It’s refreshing to see such honesty in
- 10/17/2007
- IONCINEMA.com
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