/pritalrla- where Perse- standing and theinema has Kiarostami’s sober film that ace the 19905, ven for Iranian 1a Foundation: ‘kmalbaf, Jafar 1—Blackboards Five in the Af rance, féted by denounced by ran, Related to 1 cinema. These hharacterized by rofessional and cinematography sive editing, and onnaué’s film is ‘polis insists on & iberately uneven, 2 Compounding =i pitch black, ity juxtaposes, oF julgent rebellious of Iranian history. sical irreverent sice versa. This is, 1 in her bedroom, te Monsters,” on @ slaughtered in the official discourse of ‘zh to the point of xt, stylistically sel ying unpredictable, +t, most quintessen- The Gnéma du Cops As an art form and a professional practice, cinema thrives on its ability to induce vivid sensations—a tendency that some readily take to extremes. Yet ” while the majority of world film engages its viewers to convey satisfaction or gratification, an opposite expect an artist to shaw tendency occasionally emerges, abrasive forms of ‘me the edge. And to show ewes exploitation of the medium within this rey echoes of which everberate through the rejuvenated art cinema of cone temporary France, and beyond. In this context, Jean-Pierre Dufreigne believes the real force behind these films to be thet “terrifying elegance’"** "To analyze these fils loSely isto discover an array of devices designed to engoss, bewikes, repel, but ot entertain in any conventional sense Impor- tant to note in this context ig that, contrary to the unstated assumptions of * sRost’contempérary film criticism, eveh that which deals with film festivals, not all filmmakers seek to charm and engage the audience in regulated, up- teat terms: Cinema need neither please nor amuse, The structures endemic nowadays to tiie inajorty of international mainstream and art cineiniy sympathetic charactets that progress and develop, talking us through their prablems in order to solv them: carefully plotted scenarios ‘with inevitably positive resolutions; underlying social issues that can be tidily surveyed and tsually surmounted —can be wsidermined or else abandoned centicely. Further If we jettison the pejorative a dismiss that which does not wore to this, the stir and appealing cal editing ané But what then? onstrate, the s tion, sensation subversive pras enacted agains century French The tactics regards to natr from a complet shoot into its ¢ tent. The scene rehearsal, then and stylistic eve for its calculate Twentynine Pal the conventions on location as p life as a comple Burgeau, But ew is often in “playi densely novelist Herman Melvilh on) and laconic « shoots. In effect Indeed, as brilli du coms unnern ‘iting norms tk ‘There is little ro character ares. TI human beings ar is abandoned in) of nature. Gone ; af screenplay de: of events. Indeed What she sees as Befitting this {he cinema du cous fantasies or ‘yand the Beast 946). For Not, >, avant-garde nce was the so~ ovie iconoclast thes the French fonica Bellucci, rsible made me Gasparis a rises: for that I ‘ps, this need to 2, critical possi- what is it about » memorable, so snable conversa~ cers, these films dally ignoxed for imacy is actually a collectively and dium within this teinema of con~ jufreigne believes snce”3* swices designed to nal sense. Impor d assumptions of vith film festivals, vin regulated, up- tructures endemic and ext cinema— us through their ios with inevitably idily surveyed and ed entirely. Pusther to this, the stimuli of film style routinely used to gratify—attractive settings and appealing mise-en-scéne, a lively yet reassuring soundtrack; smooth, logi- cal editing and elegantly omniscient cinematography—can also be rejected, But what then? As Trouble Every Day, Irreversible, and Twentynine Palms dem- onstrate, the systematic pursuit of an opposite objective, the craft of agita- tion, sensation, and provocation, gives rise to an artful cinema. Indeed, the subversive practices that European art cinema of the 1950s and 1960s once ‘enacted against classical film norms are, in certain sectors of twenty-frst- century French filmmaking, being meticulously revived. The tactics for such studied disorientation are often bravura, especially in regards to narrative design. The first point is that Irreversible was shot not from a completed script but from a three-page treatment, which divided the shoot into its constituent sequences and summarized the gist of their con- tent. The scenes were expanded through improvisation and intensive on-set ‘ehearsal, then filmed up to twenty times in a gradual process of dramatic And stylistic evolution. (Noé's approach in some ways echoes Lola Doillon’s for its calculated spontaneity, drawing substantielly from the cast’s input) Twentynine Palms, similarly, was written by Dumont (who never adheres to the conventional screenwriting format) as a 4o-page outline, and expanded ‘on location as principal photography went on. Only Trouble Every Day began life as a completed script, by Denis and long-term writing partner jean-Pol Burgeau. But even here, as Denis admits wryly, her motivation as a flmmaker is often in “playing her script and her desthetic against each other,’ using 2 densely novelistic point of departure (vampire literature for Trouble Every Day; Herman Melville's short stories and poems for Beau Travail (199) and so on) and laconic dialogue, swhigh she,then cinematically supplants during her shoots. In effect, Denis intuitively substitutes sounds and images for words. Indeed, as brilliantly represented by Denis, Dumont, and Noé, the cinéma du corps unnerves on one level through its systemic dismantling of sereen- writing norms that! are absolutely—we might say tyrannically—ubiquitous. ‘There is little room here for dislogue-driven character formulation or clear ‘character arcs. The great fallacy endorsed by most forms of cinema, that adult human beings afe'psyclislogically transparent and lear from their mistakes, is abandoned in favor of on-screen figures that are brutish, unyielding forces ofnature. Goii¢ also are over-ordered dramatic pay-off, codified structures of screenplay design that reduce human interactions to regulated patterns ofevents. Indeed, the cinéma du corps heeds Jane Campion’s protest aguinst what she sees as world cineina’g “three-act fundamentalismn."23 Befitting this distaste for cbiivéntional screenplay logics, like much of the cinéma du corps, our trio of films uses plots that oscillate between the ‘i The Gnémea du Comps 79| Marcus (Vincent Cassef) and Alex (Monica Bellucci in biisful repose in irreversible demented and the commonplace. Trouble Every Day uses parallel editing to Gepict the sexual and psychological decay of Coré (Béatrice Dalle, cast to in~ vvoke her iconically carnal role in Betty Blue (37°2 le matin, 1g86)), and Shane (Wincent Gallo), who suffer, we surmise, from a horrific medical disorder that induces cannibalistic urges in them during sexual arousal, Shane, ostensibly ‘on his honeymoon, travels to Paris in search of a cure, but his enquiries fai. Instead, in an unsettling open ending he is left apparently embracing his condition, having cartied out a series of murders, Irreversible is even more emphatically disorienting in its narrative structure, consisting of twelve seg ments which defy the film's own title by unfolding in reverse chronological order, On-screen events begin with a gory killing in @ gay nightclub, certied out by Pierre (Albert Dupontel) in fienzied but misdirected retribution for the rape andsapparent,musder of Alex (Monica Bellucci). Later (earlier), by contrast, are beatific scenes: Alex sleeping with her lover, Marcus (Vincent Cassel, the father of her unborn and presumably Jost child; and then for the film's hugely incongruous climax, a scene of her alone, content, in a sunny park surrounded-by joyful families. Twentynine Palms, which in its deliberate pace and cbmpositions outdoes Michelangelo Antonioni’s art cinema of the ited influence on Dumont—recounts the picaresque journey of = 19608; _. = Kats (Katia Golubev) hd David (David Wissald, who itis implied is martied to somégne else (there is a tattooed band on his wedding finger. In extended sequetices bracketed by fades, this couple drives his increasingly battered red Hummer through Californian scrublands. They wander, intermittently having sex, arguing heatedly, aid then falling victim, in the film's final segment, to ‘a series of sudden attacks: David is savagely beaten and raped, and in inar- ticulate rage kills both’ Katia and himself. The final shot, a distantly framed ong take, shows his body lying face down in the desert next to the abandoned 1 ne Humm ing clos Ade space, t sex are settings aim is b tains as acing, of simp! ing sexu between inscrutal and cont tion. (A 23 Quai encounte with ban Every Day Tengthy a that in fi suspense. Elemer late event senses is used to si strikingly, ceptible be twenty-sev ing unease is often slip and sound, ume of the and nondie, clemor that argues, is a ‘the audienc1 n ireversible rallel editing to Dalle, cast to in- 86), and Shane cal disorder that hane, ostensibly is enquiries fail embracing his ale is even more ag of twelve seg- se chronological ightclub, carried 4 retribution for cater (earlier), by Marcus (Vincent and then for the stent, in a sunny xin its deliberate art cinema of the esque journey of plied is married ger). In extended ingly battered red ssmittently having final segment, to ped, and in inat- 1 distantly framed to the abandoned Hummer, while a frustrated ‘cop calls for backup. No compromise, or satisfy- ing closure, is offered by these conclusions, ~ Adefining feature of these films is their systematic distortion of the diegetic space, the confused worlds on-screen. While the actual acts of violence and Sex ate represented as intrusive and alarming, more nondescript events and settings also represent a brooding, nonspecific malaise. As Denis reports, her aim is to “create a feeling of danger everywhere . .. [so] every situation con- tains « sense of threat, anxiety"8* in part this builds from meastred nerrative Pacing, an insidious form of storytelling, with plots fragmented to the point of simplicity, attenuated to relentlessness, The most shocking and unflinch- ing sexual interactions are situated, in effect, within narratives that oscillate between experiential extremes: drawn-out sequences of passive meditation, inscrutable character interactions, at times an abiding sense of boredom, and contrasted bursts of sudden, overwhelmingly abrupt movement and ac- tion. (A clear forerunner to this model is Chantal Akermen’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles [19761.) Graphic and/or violent sexual encounters are repeatedly prefaced, connected, and ‘even sometimes intercut with banalites: Shane in a café sipping gently fom a coffee mug (Trouble Every Day), a long take of a deserted main street (Twentynine Palms), Alex's lengthy attempts to find a cab Urreversible). Dumont underlines the strategy: that in films like these, “nothing happens, and this nothingness creates suspense.”35 Elements of style, furthermore, grate on our comprehension of these ‘deso- late events in progress. A daring aspect of what becomes an assault on our Senses is these filmmakers’ oppressive use of sound. If soundtracks can be used to situate and, to accompany,they can also be used to disturb, Most strikingly, Irreversible uses for sixty miniies of its running time a barely per~ ceptible but aggravating bass rumble that was recorded for Noé’s Purposes at fwenty-seven hertz, the frequency used by rit police to quell mobs. by induc unease and, after prolonged exposure, physical nausea Noé also hired Thomas Bangalter! a member of the electronic band Daft Punk, to dub in sound designs—bpats, drones, riffs, and pitch slides—many of which were performed Jivs-ofj'5} Gels as-the shoot went on. Throughout the film there 1s offen slippage’ in acoustic fidelity, a wavering connection between image and sound. Alafigside, under, and over scenes—as the density, mix, and vol- ume of the soundtrack abruptly shift~a subterranean Darrage of off-screen and nondiegetic sound peaks and ebbs in waves, an attesting but dislocated lamor that interrogates thé’ events we see. The total effect, as Robin Wood izues. is an ingeniously crafted Soundscape of pure noise, registered by the audience as “ominous, ugly, threatening,"25 a queasy range of pulsing , The Ginga du Corps 73,textures that intensifies our malaise at events on the imagetrack. Especially in the opening scenes set in and around a tenement building and outside the Rectum nightclub where the opening murder takes place, we approach sensory overload, sheer aural chaos, In different but related ways, Denis ‘and Dumont also use the soundtrack ‘as the means for challenging viewers, making them acutely conscious that they are also listeners. in both Trouble Every Day and Twentynine Palms dia- rogue is removed for long stretches of time, including some segments of up to twenty minutes in duration. Silence often prevails, which in and of itself makes audiences restless, particularly when the convention is for exposition and backstory —especially during the opening sections of a nasrative. Coré herself, played by Dalle, whose acting style usuelly depends upon volubility, js given just two lines to say, orrathes, whispers "| don't want to wait any more ‘want to die.” The minimal spoken exchanges between Katia and David in Twentynine Palms, barely comprehensible in her ‘halting English and his ‘broken French—Dumont's casting harnesses the absurdity of a couple that cannot communicate —become even more muted through the actors’ uncer tain, mumbled delivery. French cinema, historically noted for its tradition of dense, witty scripied dialogue, here takes a disconcertingly different siz. “All doree filmmakers, in fact, use an inverted sound hierarchy to dissipate the impact of speech. As orchestrated by Denis, Dumont, Noé, and their postproduction technicians, beautifully designed sound mixes deaden oF ecise human voices and disproportionately privilege denser ambient forms, ‘The soundtracks build from auditory claustrophobia rather than structured veeal interactions. Alone, silent, and (we infer only much Tater) on the hunt for victims, Coré's rioctltnul prowls in-Tyouble Every Day are set ‘0 swoeP” ing gusts of wind end nonspecific rumbles, ‘as are the repeated establishing shots of industrial and city skylines. Throughout Twentynine Palms, Dumont hrolghtens the clamor of distant towns, passing police sirens, clattering tra fic moving, at speed, sckaps of noise from passersby, and ubiquitous blasts of wind. For most of. Irreversible—in and outside two nightclubs, on Paris Streets--fragments.ofoices collide and compete with 2 cacophony ofsound fragnhefits both dieggtic and nondiegetic: shduts, footsteps, cries, urban and “abstract noise, The audience is obliged to relate what is heard to what is seen, reconciling the tv ori intermittently into a meaningful, coherent whole. ‘Visual style also intervenes to amplify the disorienting ‘experience offered, ortather insisted upon, by these films. As with the soundtrack, any comfort” able grasp of events in progress is blocked; raw or symbolic sensation is rou tinely preferred to narrative synthesis. For Trouble Every Day, Denis and her Jong-term director of photography, Agnés Godard, chose to shoot pivotal se " Bodies and rocks: Kata ‘quences either at dus} in garish blood red an and interact in gloom film's extended opens are nearly illegible eve Iaboration, as Godard volumes, luminous an Jn their cinematograp] directorial career as an tory spaces, details, pr actors themselves, On- Day or tangible landsce Kaganski argues that I urban terrain as if it w Dumont configures mo away to extreme long ‘that litter them: wind tracks. Both films and k ‘ment at all, focusing r directing us to contemp of contemporary urban Bylons, or accamulatin While aesthetic desi it can also make us ave at the Institut Lumigae ‘Noé worked extensive (His collaborator was F«. Especially and outside vve approach soundtrack scious that ve Palms dia- ments of up ‘and of itself or exposition trrative, Coré on volubility, vait any more tia and David lish and his a couple that actors’ ancer- ts tradition of arent turn, ry to dissipate fog, and their ces deaden oF mbient forms. ren structured 1) on the hunt set to sweep -d establishing 2alms, Dumont clattering traf iquitous blasts stubs, on Paris shony of sound ties, urban and towhatis seen, erent whole. rience offered, , any comfort- apsation is rou" Denis and her | ‘hoot pivotal se- Bodies and rocks: Katia (Katia Golubeva) and David (David Wissa) in Twentynine ims quences either at dusk, at night, with virtually no illumination, or, conversely, in garish blood red and orange pools of light. Characters com go, move and interact in gloom or complete obscurity. The motif is highlighted in the film's extended opening scene of a couple kissing in darkness, images which «re nearly illegible even when freeze-fiamed on DvD. Throughout their col- Jaboration, as Godard describes, ‘Trouble Every Day was configured by “colors, volumes, luminous ambiences, which took the place of concrete settings,"37 In their cinematography, moreover, both Denis and Dumont (whe began his isectorial career as an industrial documentasian) often favor shots of transi- tony spaces, details, props, or abstract symmetrical patterns rather than the is themselves, On-screen space—a vestigial sense of Paris in Trouble Every Day or tangible landscapes in either film —is. profoundly defamiliatized. Serge Kaganski argues that Denis and Godard render Trouble Every Day's “vaguely: urban terrain as if it were an African savatiiah”; an atavistic landmass that Dumont configures more directly. Twentynine Palms indeed obsessively cuts away to extreme long shots of desest landscapes and the modern minutize that litter them: wind turbines, distant roads, tumbling buildings, railway tacks. Both films andjboth filmmakers often eschew figures and figure move- ment at all, focusingirepeatedly instead on physical aspects of the setting, dluecting is 9 contesplate opique or increasingly) vaguely menacing abjects of contémporary urban scenery, such as blank walls, hotel fixtures, electricity ylons, or accumulating piles of garbage and city detritus, “While aesthetié design can make us strain to catch meaningful glimpses, it can also make us avert usr eyes. Originally trained as a cinematographer at the Institut Lumigre in Pais) and a seifdeseribed “image fetishist39 ‘Noé worked extensively as his own: ditector of photography on Irreversible. (His collaborator was Benoft Debie, whose distinctive photography we will The Cinéma cy Comps 75,‘Marcus is driven away by ambulance in an overhead shot from irreversible consider further in Chapter 4.) His crucial technical decision was to use pre~ dominantly a tiny, lightweight Minima camera to capture 360-degree regions of space around his characters, in vertiginous swoops, whirls, and gyroscopic spins. The effect recalls Michael Snow's Back ‘Forth (1969), a pioneering It also upsets, sometimes * experiment in mapping out zones of filmed space. violently, viewers used to analytical editing and stable compositions. Always alert to newer technologies, Noé used a lengthy postproduction period and digital editing facilities to merge seamlessly disparate visual chunks, ew {ootage, into extended kaleidoscopic arcs of jarting motion. In consequence, scenes that are-already-distuching .suich,s when the unconscious Marcus, ‘beaten and appasently close to death, is driven off in an ambulance, are con veyed and amplified vi a radical cinematographic design which asserts its stylistic presence, like the soundtrack, independently of events taking place. Vital sequences-~spme-shot upside down, most unbalanced or arbitrary in their framing, mang canted ily off-kilter— segue into episodes of the camer being propelled through space, in extravagant loops and twits. Meld- ing digital and celluloid techhlogies, Noé's aesthetic design invokes avant- garde pioneer Byakhage's efforts to create a cinema of raw and ‘unmediated perceptual intuitions, At times the impression is of free-form experiential data, wild and wandering visual patterns oflight and darkness. In every sense of the phrase, Irreversible igshard to watch, For allthree filmmakers, HioWvever, the logic ofsuch visual and aural schemes is highlighted during sexual encounters designed specifically to confront, ‘Almost unbearable elements of proximity, scrutiny, and, above all, duration 16 cues are endemic to, the underpass 1 becomes sudde arbitrarily, it obs moving, or paus single shot—w history. And this tight shot scales choice for Denis’ Coté wordlessly well as for Dum« desert gully. Flesh, in all 1 aesthetics. Comy on abstracted ste lumps of hair at in emphatically x hygiene: under fla bathtubs, bathed this point, Azoury world."#° But con of style and narrat rendered visceral, throughout Troubi aircraft cabin inte shots which seem this wife?), drench her smeared blood David's extended s preamble cuts suds toom. As such prot soundtracks, in co and emphatically at is jartingly undersc wwe hear pushed to g broken shrieks of p: the style of all three 4 shattering release itself, in physical er Protagonist:> use pre- ee regions gyroscopic pionesring sometimes as, Always period and vunks, raw asequence, us Marcus, ze, are con asseris aking place. arbitrary in odes of the wicls. Meld vokes avant- unmediated experiential every sense aral schemes to confiont, all, duration are endemic to the fils’ more graphic moments of sex-as-violation. During the underpass rape scene in Irreversible, for example, Noé's kinetic camera becomes suddenly and cruelly static. Instead of roaming flamboyantly and arbitrarily, it observes the struggling bodies of Alex and her attacker without moving, or pausing, or intervening, for an excruciating nearly nine-minute single shot—which may prove to be the most controversial long take in film history. And this motif of an extended take, typicelly ftamed in oppressively tight shot scales and set-ups without camera motion, is also the device of choice for Denis’s sexual cannibalism scenes—such as when the imprisoned Coré wordlessly seduces and then slowly devours her would-be rescucr—as well as for Dumont's climactic depiction of sadistic male rape in a deserted desert gully Flesh, in all three films, is exposed to us within absorbing corporeal aesthetics. Compositions, typically extreme close-ups, dwell and linger on abstracted static shots or pans over goose bumps, writhing body parts, lumps of hair and naked skin. On the one hand, we see bodies displayed in emphatically nonsexual ways, repeatedly in the context of cleaning and hygiene: under flat fluorescent lighting in bathrooms, vigorously scrubbed in bathtubs, bathed in sprays from showers, reflected in washroom mirzors, On this point, Azoury aptly calls Trouble Every Day's mise-en-scine a “refiigerated world."° But conversely again these films exploit unpredictable reversals of style and narrative —these same bodies are then abruptly and graphically rendered visceral, or unconventionally sexualized. Denis jars us visually throughout Trouble Every Day, cutting, for example, early on from a sterile aircraft cabin interior to an abstract series of disjointed, wobbling handheld shots which seem to.convey.Shane's,fantasy of a dying woman's corpse (his wife?), drenched not in water but in gore, with shallow focus blurring her smeared blood into a crimson haze. In the same way, from Ketia's and David's extended stroll down a street in Twentynine Palms, Dumont without preamble cuts suddenly, to a close-up of their violent, frantic sex in a motel tom. As such protractéd sequences unfold, moreover, the mix of the films’ soundtracks, in contrast with elsewhere, suddenly becomes sparse, stark, and emphatically atthe to intindate badily finctions. ‘The physical brutality is jarsingly underscored by exclamations from the actors’ vocal cords, which ‘we hear pushed to gotesque breaking point: in ragged gasps, harsh sobs, and broken shrieks of pain.-Human copulation, aggrandized and made primal by the style ofall three films, reaches a brutish and guttural crescendo, as much 4 shattering release or explosion'of ehergy as a sexual climax. The act of sex itself, in physical and cinematic forin, becomes devoid of pleasure for both hegetic protagonists and their audience)~an especially acute irony, {. The Cinéma du Corps 77| | | | | { } “regs as an ambitious, cine! Inthe final analysis, this cinéma du corps is undoubtedly a vein of filmmak- ing that is dificult to appreciate objectively because ii $0 Geliberately hard ae tch, co deliberately hard to Tike Fr outside the mainstzeam, beyond the pale even of most art cinema made today, the work of Denis Dumont, and Noé acquires such force that it leaves us ‘stunned, affronted, and ultimately wary. The impact of such films, typically is divisive. As Jean Bréliat, ‘prodhicer Sewentyine Peis, observes: “When someone is drawn to the Gm, it’s in sn excessive way-—eithes people hate it and decry it or they become fanatics ‘Theve’s something really strong about it, i's never in between."** We must canes move beyond such polarizing evaluations to understand the effons dan ambitions, ofthis confrontational filmmaking to engage us, both in style and subject material, A hybrid cinema, merging high ext jntellectualistn with Tow axt body horror, these films exploit che cinematic mediowy in dazzling, “Coherent, and often unprecedented ways. Denis's summary of her conceptual ols a5 a fimmaker offers a perfect cinéma du corps rationale, She ashes the film it- ee about exploring formal design with which no one is familiar, selfoffering a sort ofimmersion within eesthetic designs, tang us towards & Jace.’ Exploring sexuality and physicality more profound, more mystesious pl neeeiating exteres, We should begin t6 consider this controversia) strand st contemporary French cinema as having a rigorous, committed intensity dn to the avant-garde at its most dynamic and compelling troubling every day, indeed. Inthe Skin of Marina de Van ‘Ari altcthative perspective on the cinéma du corps comes from the quite literal ppody of work of Mazina de Van. Besides her progress as wites, tess, and vrncctor of short films, cur focus here will be on de Van's debut feature, Is My Jen taking up both textual and contextual issues. Extending the cinéma du corps enencY, we wil consider the impact of some ‘of French cinema's lead- ing institutions and igure, de Van's own testimony ina series of personal sptarews, aswel as, once agai, her sisted sel-presentation in the trade x i Jiterate debutant filmmaker, This methodology Sield salient perspectives, the cinéma du corps represents form of contem- die, then how and why might a young, first-time filmmaker porary avant-garc nandge her career to make such divisive films? Reversing the equation, what ‘opportunities does this contested filmmaking model actualy create? Were, a dedning context for de Van, vital oer creer and the dynamism of the cntie French emema industry i the role ofthe national lm schoo! sis, tem. Although the national French film school system is historically maligned i B me pre lite sch cre filn axti bot app grat hig) sele com unfi atk pres prot and insti its i prac cine by You Payit sole wher stror this exper Van 1 artist the d ceality amor