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SUBJECT • LANDSCAPES • CHARACTERS • ACTORS • SEX • TECHNIQUE • REALITY & THE VIEWER • DOUBTS |
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SUBJECT Explaining the process that sets a film in motion remains a mystery. For “ Twentynine Palms ”, it was a sensation. The very furtive character of the police inspector in “ Life of Jesus ” made me want to do “ Humanity ”. If I'm asked: Why? How? I can't answer. What is important for me is describing a story with images and sounds. The director's job is like a painter's. Matisse wrote that what matters in a painting is not the subject, but the way things are placed around the subject, their proportion. Flanders, for example, is a mystery to me. I was born there. My relation to it is visceral, sensitive, in other words, not guided by reason. The camera becomes a microscope or a lens held over the subjectÉ I need the land to film human beings. In being filmed, Flanders renders an aspect of human existence. I need a story because stories are the natural movement of our lives, in which we connect with others. Making the film is like weaving. The “ Flanders ” war is the expression of the struggle of our desires |
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FLANDRES - a film by Bruno DUMONT - Visa d'exploitation 109.285 |
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