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Fragments of Antonin Gabriel Bomin

This is a surprising debut. Films about war is a separate genre. Whether Platoon, Full Metal Jacket, Apocalypse Now, etc., is always in the thick of the action that the director tries to convey the absurdity of these large collective butchers. Apprehension direct, immediate and front actions on the battlefield gives these films an epic dimension, and makes almost photogenic event characterized by its unbearable horror. The reef who watched the film of Gabriel Bomin was different, because his starting point was different from that of the classical genre of war films. It's in the consciousness of the character that the author search, trying to pick up the scattered fragments of the traumatic memories that shake his character and dehumanize, making a wreck unable to watch the other side, and shunning any event of reality in the footsteps of the past overwhelming horror. When taking the first contact with Antonin, it is in the hospital where the care of a psychiatrist who dedicated his life to fully understand the trauma psychological warfare and out patients in this paralyzing grip of the past. Antonin is totally absent. His universe is reduced to 5 names spoken tirelessly and compulsive gestures, each referring to a specific recollection of the war-backs Flachs filmed by the filmmaker.
The challenge was very difficult, unlike literature, which can realize a dramatic dive in the consciousness of a character, by transmitting the character at times delusional and fragmentary in an immediate manner, the film interposed between this consciousness and his description of objective reality, visual, its images. A gap may arise between the tortured face of the character, haunted by the traumatic images, and updating of these same images, which seems to indicate too clearly the intervention of the director. This difficulty seems to be coupled with substantial difficulty stylistic: the uncontrollable shaking of Antoninus in this deal seems a very great mastery in the staging of the past. The filmmaker himself between her character and her memories, making more palpable the presence of the omniscient view, overlooking and dominating the camera.
But if the film succeeds in spite of this side too neat and lyrical staging of the past, we share this experience of human suffering, and we make the character of Antoninus so close is that the director establishes a bridge between the traumatic past and this dislocated through multiple sensory sensations and very concrete: the sound of the camera that turns evokes in his mind that machine guns, the sound of a metal object raises memories of metal collars (all soldiers wear the medallions with a number to be identified in case of death or injury) that hard to soldiers dying and thrown into a container bloodied, the touch of a pigeon (in his hands by the doctor) which raises the images of pigeons he stood to deliver operational information to the Staff the French army, etc..
But what makes this film so poignant, it is especially the attention paid by the director for inclusion of mental and psychological suffering in the body of her character and expressive gestures. Antonin is like a disjointed puppet, his body obeys him and seems more driven by the reproduction of compulsive actions of the past. His tremors are continuing as the actualization of all these terrible moments of fear and trembling before the fear of death. His hand caresses also reproduced on the face of a beloved hand, the Madeleine, the nurse of the Red Cross. Wide-eyed seem to face a world of death and horror, the director films in a very fair, without pathos. The idea of the most beautiful film is this: to convey through this disjointed body, trembling, and these gestures horribly reduced by the breviary of suffering the density of images and experiences of a man immersed in the heart of the great human folly, institutionalized and delusional, that the war be put across the character's physical and mental trauma experienced. Between the poignant and painful pantomime of Antoninus and the soldier who has been dead to face the miles and miles absurdities of war, the filmmaker builds bridges, returning gradually to control character's past, and So his body. It grows mercy on his way back to his beloved, Madeleine, who, recaressant his face, finally managed to escape the spell of the past.
But it's also a film on consciousness, not only that, exploded and fragmentary character, but also that of the viewer, which can only remain puzzled by the slow and inexorable emergence of the memory of the war and beyond, all the wars that have crippled humanity. The images are generic images of documentaries, which draw on those who are shot in a psychiatric hospital in the 20s, and show the faces and bodies of some soldiers twisted psychological distress. These images from the past haunt our memory as the images of the war the character's consciousness. The filmmaker and forces us to confront our own memory, and we examine the mechanisms of forgetting and repression of the consequences of war. The film also seems to emanate from an ethical question as one of the secondary characters of the film and form: what shall we do with our minds once the war is over.
We will long remember these so the eyes open to the horror of that body trembling, these repetitive and sterile as a metaphor for deep and dense of these wars that grind man. Sometimes the beauty of a film down to its ability to embody abstract ideas. His face contorted with pain Harriet Andersson in Cries and Whispers, to represent the death of Alex hallucinatory expression and his eyes opened by the pincers in A Clockwork Orange to say the violence of the modern world, we must now add the body trembling and eyes inordinately wide open to Antonin, to embody the horror of war, which fragmented consciousness.

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La Graine et le Mulet , of Abdellatif Kechiche

After Dodge, film of rare accuracy and freshness of youth the Suburbs French and its relationship to love and language, Abdellatif Kechiche filmed his third feature in the middle of North African immigrants in the south of France.
The screenplay is simple: an old shipyard worker Maghreb Sète, said unprofitable, decided to open a restaurant dedicated to fish couscous, a specialty of his ex-wife, with the help of his daughter new girlfriend (Hafsia Herzi, absolutely gorgeous).

The beauty of the film lies in the humanity and generosity with which the director films his characters and scenes from everyday life, those moments that might seem very trivial but which turn out dense and sometimes bitter. The mobility of the camera, the lively dialogues, cut very tight, make a film of uncommon strength. Poetry emerges from these moments filmed as blocks of this, the camera explores the filmmaker, introducing us in a different space-time, making us so close to the characters and their stories. The scene of the family meal or that the confrontation between his mother and Rym are moments of pure presence, where dialogue becomes the cement of capturing a tireless presence world and a future.

The relationship with language is one of the centers of the film. Kechiche filming scenes where characters speak the French language so special, transformed by the slang became rougher and more jerky, fertilized and interspersed with Arabic expressions earthy, with accents of both towed and tonics. But language is not only the place of finding of a sociological transformation, it carries very far in exploring these characters and their settlement in life, in this in the sensuality of reality. Something torrential totally dynamic and almost uncontrollable emerges from these scenes, which seem never to end and for this reason become both familiar and strange. It seems that the word causes the characters, it transcends them while anchoring them in a very strong sociological reality. Like the scene where Rym tries to convince his mother to attend the party organized by Slimane on the boat. While Rym can not stop talking to her mother, getting all possible arguments, urging her not to succumb to selfishness, the director films the girl's face passionate and generous, his every beat of cilia, his eyes blazing and sad tears. The scene lasts forever without the tension is released or boredom sets in, because there is just such a dialectic between dialogue and face, such a burst of meaning of those words and simple truths uttered by the girl who is himself carried away by the relentless torrent of words. Each character moves and in a language of its own, which becomes part of his character, his way of being in the world, and beyond, which carries a whole social context.

The beauty of the film is Kechiche also he managed to turn a traditional North African dish the issue of a drama of human existence. The scenes relating to the preparation of couscous could well be mere demonstrations of cultural diversity and culinary habits of a North African immigrant families. They might fall into the worst figure in the folk or exotic appeal. Yet it is not because the final scenes transform the disappearance of the meal that was to be served to guests in a tragic moment. When the son of Slimane leaves, taking with him the couscous in the trunk of the car, the film turns into another dimension, infinitely more poignant. While Slimane continues his desperate race through the streets of Sète behind children who stole his bike, Rym is unleashed in a steamy belly dance to save the situation dramatically and make the guests wait. The parallel connection between the race to the death of this old man out of breath and dancing in the life of sensual girl is absolutely breathtaking. Since both are fighting for their common dream, each in its own way. The couscous is then not only the traditional dish around which are family gatherings or pretext to open a restaurant, it the gimmick that sets the characters in a fight to thank you for life, wandering in a desperate survival. Like the bicycle's "Bicycle Thief" or the book "Where is the house of my friend," the couscous into the anthology of these things flying or subtraction reveals the tragedy of poverty when an object key to survival is lacking. We will long imbued in us images of the chase on the night of the man rolled by life in the deserted streets around the port where it finds no other help than his old man legs and shortness of breath, just as we keep itself Images This girl who offers her body as food to the eyes suddenly captivated, a dance born of a desperate situation but the sensuality of the artist and the filmmaker transfigure into a Dionysian celebration of the movement.

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Duel or The figure of duality in the film by Souleymane Cisse

The structure of films Cisse is confusing. It al'étrangeté things first, elements of nature constantly present around us and yet retaining all their opacity and mystery.

Cissé's films always begin with images so familiar and yet so foreign that are trees, earth and sky, giving them new meaning, as if it was the first image of the world that was given to voir.Si the essence of cinema is " shoot for things to just name them "(Jean Luc Godard), Cisse gives this thesis a masterful illustration. His images back to the genesis of the world, a world where things have not been named yet, a world that must inform the bark rough skin so that finally it reaches the first illumination of knowledge.

This aspiration full and "premièreté" the world is announced by the titles of the films Cissé wind (Finye), light (Yeelen), time (Waati), who register their films in the search for the essence things, the only principle which derives all the other elements. These titles indicate the quest for the original, a world that would have solved its deep unity, condensed around a single point, before the bursting of its elements into a multitude of independent spheres.

However, this unity or oneness that announced by the Securities is belied by the very stuff of movies. If the titles reveal a deep desire for the unity of the world, the films themselves are subject to a constant duality, which turns a duel, as if the world, rebel at any attempt of confinement, it proved impossible to grasp, impossible to mold in a matter unique.Ses films did not quiet the structure of images flowing quietly, but the primary principle that guides them, and found at all levels of the film is that the clash between antagonistic forces, the confrontation by his filmmaker corroborates how to shoot and grapple with his images. It creates in the viewer the impression that the film material, characters, palpable and impalpable things, all entities that exist before the camera is constantly bent, like a huge iron plate that the filmmaker seeks to overhaul smith to give it a new form. Everything happens as if, in the constant battle between two entities that are fighting them fatally, the camera was a third term, which pulls its weight on the outcome of the fight.

In Cissé's films, the duel is the main topic. So is it of Finye, where he was to show the confrontation between rebellious youth and progressive and power, represented by the military governor. This political dimension of the confrontation, Cisse Yeelen happening in a more mythological dimension, giving the duel between the son, Nianankoro, and the father a more cosmic significance, making them fight alongside these two human beings of other forces supernatural, since each has a magical kind of substitute, representing the center of power that has been passed down from their ancestors.

In Waati, the idea of confrontation is Central entire film is that the violent melee between Nandi and the land of Africa. The film has that strength, that of a body that strikes against the world, not only his show but his living flesh and bruised. If Waati exceeds all images of African horrors, if not simply a demonstration of realistic battle between blacks and whites in South Africa is that it erects a body, a look like the only fighting force and change, and while the film is that face-to-face meeting between Nandi and images running through his conscience, especially bloody battle that is underground.

This persistence of the fight in the films of Cisse is accentuated by the presence of supernatural forces. Human beings do not only compete but revolve around them dark forces, impalpable, those that exist in every part of nature. Thus, the duel of men is doubled another duel between the gods, or more generally between charged objects with supernatural power. Such is the case Yeelen, where the final confrontation between father and son is supported by the struggle between the drumstick and the wing of magic Kore. However, this example is not a special case in Cissé's films. In Finye Waati and, although the gods seem to have deserted the land, leaving humans struggling all alone with their problems, there is always a tenuous presence, power transmitted by a character, mostly old, a sort of relay between gods and men (the grandfather of Baa in Finye and grandmother in Waati). Thus, the duel in reality is constantly exceeded, included in another duel, more cosmic, and seeks Cisse to show us not only the contradictions of reality and the social and political problems faced by its characters but also all the intangible forces that surround. In fact, this duality between reality and the supernatural is powered by the very way of filming. We notice that in his films (except Yeelen which is entirely subject to the mythological dimension, which makes no reference to contemporary reality) Cisse constantly oscillates between filming realistic situations where the crudeness sometimes turns into triviality, and filming more lyrical and legendary when it comes to film nature, which is never seen in an objective, but as a nature peopled with ghosts and he succeeds magnificently in making palpable soul, giving us the impression that constantly blows through the trees stirring despite their apparent fixity.

It is strange that Finye, such as film, however, placed under the sign of reality, since it tends to show the political situation in Mali in the 70's, begins with the image of a forest and a river from which emerges a child translucent body. He ends up the same image of the child arising from the water, holding his hands a bowl. Something in Cissé's films suggests the structure of a sphere that closes on the characters, in which they are deployed but they can not escape. So, after trying to grasp the complexity of reality, it curiously concludes his film on this original image, not yet reached by the debris of the real world, as if this was a phase that will pass through before humans arrive to find a certain purity symbolized by water, as if it was all a break from the movement of the universe.

Moreover, one might find this duality in the way of filming for Cisse in the reports between the titles of films and the films themselves. So Finye. A priori, there is no relationship between this element (wind) and the film has an essentially political dimension. Only the foreground, where we see the trees move in the wind, entered it in the matter of the film. In other plans, we will seek in vain any perceptible presence of the wind, things remain static and still, no breeze and does not raise the girls' skirts or loose clothing for men.

It would be so useless and unfair to make a symbolic reading of the title, giving the wind a metaphorical function: wind of change wind of revolt that blows on this once peaceful city of Mali. Only one report could be suggested that a force out in the world, beyond the control of men, beyond their understanding, a force made up of echoes and eddies, which rises from the depths of nature, and is humans live in his presence and bewitching impalpable. Only the music of the film has something to do with the wind, because it echoes of a thousand broken, because it is broken invocation, whose presence gives some immaterial images a strange significance, as if reality was constantly overtaken by a wind that carries it. Thus, some scenes very realistic and almost commonplace for young people who pass the test tray acquire, in the presence of this music emerged from a depth unfathomable any other value, undefined.

the same way to film thus incorporates mythological or supernatural dimension. At the front so he has to film scenes realistic, Cisse made plans succeed where the camera becomes more mobile, traveling with the slow movements of the trees that populate the entire space of the plane, standing arisen as the Heaven and unplanted in the ground. Besides this mystical way of filming not only the elements of nature. Even the body can sometimes be transformed into a surface which the camera explores the windings and protrusions, trying to navigate as if it were the first human being it encounters on its way. It was so from the scene of the confrontation between father and son, where the camera Cisse back throughout the body Nianankoro, endows a mineral substance.

was the impression that it is a constant reinvention the world, a pure discovery and first images as primitive. The final duel is indeed the one between the camera and reality. Cissé's films are thus a metaphor for the ontological force of cinematography.