I have written two articles about Dardennes, one on Rosetta was
published in the french journal Multitudes (issue 6) and one about their
work in general that will appear in Multitudes' next issue. If someone
is interested and can read french, i can send him the first one at
least. They both deal with the relation to Pasolini's cinema of poetry
to show that their use of the camera is coherent with Pasolini analyses
of free indirect style in cinema as that which use filmic style as a way
to materialize subjectivity. This is something that begins with "La
promesse" (1996). "Rosetta" is also using this to produce a special
relation to the spectator, neither identificatory nor distanciating.
This film both rejects the spectator and attracts it because of the way
the spectator has always to try to catch Rosetta's line of flight, to
use Deleuze concept. That's why I argue that Dardennes films since "La
promesse" are dealing with a becoming-minor, and more generaly that free
indirect style is a filmic practice that can be used to investigate
production of subjectivity in films.
As for "Le Fils", i agree completely with what was said on the list. I
think it still go a little further in some way than Rosetta, but not so
much in "rejecting" spectators with camera movements, more in
introducing a suspense on almost nothing but materiality and actors
bodies and sensations.
I never thought about the relationship with Cassavetes, and i will enjoy
seeing his films again in this new light. In Time-Image, Deleuze cites
Cassavetes as an example of "direct cinema" linking him to e.g. Jean
Rouch and Pierre Perrault. He is also taking "direct cinema" as a kind
of "minor cinema" using fabulation and free indirect style as narration
strategy. So, i think it's in the line of my analyses.
I live in Brussels and i am originating from the same city as the
brothers (Liège). I happen also to know Luc Dardenne because he taught
me script writing at university. In fact, i see him tomorrow for an
interview. If someone has a question that he is willing to ask to him, i
will be pleased to do so.
Pascal Houba
Kate Ince wrote:
>Thanks for your thoughts on 'Rosetta', Ross. The comparison with Cassavetes
>is definitely more valid and helpful than with a realism like Loach's: I
>wouldn't call the Dardennes' style naturalist at all (expressionist,
>possibly). Haven't watched any Cassavetes for a good while, so I'll take my
>recent exposure to 'Le Fils' to something of his soon.
>Kate
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