Film diary (30/03-05/04)

Zoolander (3*)

While watching America's Next Top Model with my roommate I asked her whether she was stoked for Zoolander 2 which is supposedly coming out next year. Turns out she has not even seen the original Zoolander, so obviously there was no other choice than watching that again. This was the second time I watched the film and afterwards I was surprised to find that I rated it very low after the first time, because I really enjoyed watching it now. Definitely the funniest role of Ben Stiller I've seen. The constant pouting and the occasional magnificence of 'Blue Steel' definitely make this a comedic performance of excellent quality. Granted, the humor borders on juvenile at times, but I think it succeeds in not getting too corny which is something the film definitely should be praised for. The pre-walk off scene where Derek and Hansel face each other directly for the first time is definitely the high light of the film for me.

Office Space (3*)
Another film watched with my roommate and another one that I've already seen before. However, whereas I definitely rated the previous one too low after the first watch, I may have overestimated this one a little bit. I remember this as being very hilarious, but it did not do the same for me this time. Nevertheless, as a big fan of Dilbert and the Dutch '9 tot 5' comics, this film cannot do much wrong. The film's humour drives on recognizable situations with an absurd twist, dead-pan dryness and the comedic highlights of this film are the moments where mundane scenes are juxtaposed with gangster music. And in all fairness, these are all things that I enjoy. Nevertheless, I think there were opportunities for more comedy and unfortunately, story-wise this is not too exciting. Therefore, if we could just watch and enjoy the printer scene again, that would be great.

Beau Travail (4*)

After having seen Claire Denis' latest film Les Salauds last year and thorougly enjoying this enigmatic thriller I got intrigued in the rest of her work. I was already aware of the existence of Beau Travail, but for some reason I never got to watching it. I've considered it, but there was always something that would convince me not to. However, after hearing my friend speak so passionately about the film I finally decided this morning I should give it a go. I am very glad that I did, because like Les Salauds this film is another enigmatic, mysterious, yet beautifully shot piece of work. There is a weak narrative thread about an army commander who, for no obvious reason, hates one of his new recruits and plots against him which results in almost taking his life. However, what makes this film particularly special for me were the beautiful landscapes, the unique way the film depicts male bodies, and Dennis Lavant's incredible acting performance. Throughout the film he convincingly plays someone who's trying his hardest to supress his emotions, therefore making the seemingly inappropriate, where the army commander dances very expressively to 'Rhythm of the the Night', extra powerful. The exaggerated physical movements of the dancing are a way of finally releasing all the tension that has been building inside of him. All in all I would say that 'haptic' would be an appropriate description of the film.

 

35 Rhums (4*)

As a result of the beauty of Beau Travail I knew the next film I would be watching was going to be another film by Claire Denis. 35 Rhums follows the relation between an immigrant father and daughter living in Paris and their relations with neighbours, colleagues, friends, etc. What I enjoyed about the film was the incredible tenderness with which the story is told. A tenderness that resides in simple gestures and looks, but also the narration of the story. The film never explicitly presents you with narrative clues, but only hints at past events, unresolved feelings, and future directions. By the end of the film I'm still not sure what exactly the deal is with everyone involved, but by then the unfolding events have completely absorbed me and made me feel for and with the characters. Ultimately, I think this is a story about resolving past conflicts in order to move on and the pain that sometimes brings. That is why it is interesting that the father is a metro-driver (a mode of transport that can only move in a fixed path), while during the end where things are starting to get resolved, he drives a car (a mode of transport which allows more freedom). There were, however, a couple of loose ends in the film which I think could've been worked out better, or perhaps just left out (e.g. student protests or the guy who sends Jo flowers). There is a also an interesting hint at France's colonial past, another past conflict that needs resolving. Whereas Beau Travail is about (mostly white) French people habitating in Africa, this film is about Africans living in France. What I appreciate is that in both films this is never the main focus of the film, but sort of oozes through the actions unfolding on screen. I think Ranciere would agree that this mode of address is more politically efficient than a direct confrontation with facts and images of misery would have been. In any case, I thoroughly enjoyed this heart-warming picture. And oh my God, there's just something about Denis and portraying sensuality and tenderness in dance scenes. I can't get enough of it!