#pascal bonitzer

[sacredwhores]

Marie-Claude Treilhou - Simone Barbès or Virtue (1980)

[schizografia]

Griffith fa esplodere lo spazio filmico, e al tempo stesso trasforma radicalmente le condizioni dello spettacolo cinematografico smettendo di regolare la macchina da presa sul punto di vista del pubblico in rapporto allo schermo. Quando lo schermo cessa di essere assimilato a una scena teatrale, di music-hall o di burattini, il cinema nasce nella molteplicità dei punti di vista, nel ventaglio dei piani. I piani costituiscono un effetto del montaggio griffithiano, ossia dell'introduzione della differenza nel punto di vista, nel campo filmico, nei corpi, e sono quindi [...] i segni distintivi di un sistema di scrittura, di una combinazione di segni e sensazioni.

[…]

Ne è anche, verosimilmente, una delle cause immediate: è il montaggio degli inseguimenti che ritroviamo sia nei grandi affreschi ambiziosi (Intolerance, Nascita di una nazione) che nelle commedie e nei melodrammi (Sally of the Sawdust, ad esempio). Il montaggio degli inseguimenti è un montaggio parallelo, che dà di volta in volta l'idea dell'inseguito e dell'inseguitore, variando eventualmente l'ampiezza dei piani per fare crescere l'emozione — oppure, come accade in Intolerance, è il puro parallelismo delle azioni che si accresce reciprocamente in virtù delle loro differenze.

Pascal Bonitzer

[davidhudson]

Happy 80th, Pascal Bonitzer.

[genevieveetguy]

Golden Eighties, Chantal Akerman (1986)

[sesiondemadrugada]

Auction (Pascal Bonitzer, 2024).

[kansassire]

Le tableau volé, 2024, Pascal Bonitzer

[cristalconnors]

ADAPTED SCREENPLAY

Shortlisted: The Room Next Door / Small Things Like These / Look Back

THE NOMINEES ARE:

JOSLYN BARNES and RaMELL ROSS, NICKEL BOYS

TURNER I used to think out there is out there, and once you’re in here, you’re in here. But now that I been out and I been brought back, I know. In here and out there are the same, but in here no one has to act fake anymore.

PASCAL BONITZER and CATHERINE BREILLAT, LAST SUMMER

ANNE I know his life’s not been easy. I know he learned to hate me for supposedly stealing his father away. I get that he wants to make us pay, but it’s no excuse. And it doesn’t excuse you!

PIERRE Calm down.

ANNE Don’t touch me! Never touch me again.

PIERRE I just told you what my son said.

ANNE Vile lies, and you swallow them.

PIERRE I don’t know who to believe. Put yourself in my shoes. Imagine the hell I’ve been going through.

ANNE (beat) Your son’s a monster. Get that into your head.

ROBERT EGGERS, NOSFERATU

THOMAS I have... my lord, I have questions about the, um, unfamiliar customs of the peasantry and, um, errant wanderers... Last night, I saw, or rather I believe I saw a band of gypsies... they ventured to a small birch grove, and –

ORLAK Yesternight was but the eve of their Szent András. Our common people say it is the darkest witching night when Devil’s magic bids the wolf to speak with tongues of men, and every nightmare freely treads upon this earth, ascendent from the torturous grave. I fear we yet keep close many superstitions here that may seem backward to a young man of your high learning.

THOMAS These gypsies, they exhumed a corpse.

ORLOK It is their filthy ritual.

THOMAS What manner of ritual –

ORLOK Speak not of it again! (beat) How I look forward to retiring to your city of a modern mind, who knows nothing of... nor believes any such morbid...fairy tales.

JUSTIN KURITZKES, QUEER

LEE I thought of the painted, simpering female impersonators I had seen in a Baltimore night club. Could it be possible that I was one of those subhuman things? I walked the streets in a daze, like a man with a light concussion. I might well have destroyed myself, ending an existence which seemed to offer nothing but grotesque misery and humiliation. Nobler, I thought, to die a man than to live on, a sex monster. It was a wise old queen -- Bobo, we called her -- who taught me that I had a duty to live and to bear my burden proudly for all to see, to conquer prejudice and ignorance and hate with knowledge and sincerity and love. Bobo’s words came back to me from the tomb, the sibilants cracking gently- “No one is ever really alone. You are part of everything that is alive.” The difficulty is to convince someone else he is really part of you, so what the hell? Us parts ought to work together, right?

AND THE CRISTAL GOES TO...

GUILLAUME BRÉAUD, BERTRAND BONELLO, and BENJAMIN CHARBIT, THE BEAST

GABRIELLE I have no idea what you’re talking about.

GINA Yes, this is normal. You’re in a tremendous state of confusion. And you want to know if you will find the man you love again.

GABRIELLE What man? There’s no man.

GINA Isn’t that why you contacted me? You’ve been looking a long time.

GABRIELLE No...I wanted to know if I made the right decision moving out here and...if I have a chance.

GINA You’re far too self-centered. You’re going through a deep narcissistic crisis. It’s very destructive and also very commonplace. It’s ordinary. It’s the great evil of our times, but you must pull out of it.

GABRIELLE (beat) What?

GINA You are a good person, I can see that.

GABRIELLE Why do you say that?

GINA Because I’m scared for you. From what I can see, I’m scared for you.

[kristin-scott-thomas]

Kristin Scott Thomas as Iva Delusi in Looking For Hortense (Cherchez Hontense) | directed by Pascal Bonitzer | 2012 | France