Jeune Femme : A Film Review

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MONTPARNASSE BIENVENUE Jeune Femme

Director: Leonor Serraille, Cast: Laetitia Dosch, Souleymane Seye Ndiaye, Gregoire Monsaingeon, Jean-Christophe Folly, Nathalie Richard, Arnaud de Cazes.
Produced by, Sandra da Fonseca, Bertrand Gore, Nathalie Mesuret, Written by Léonor Sérraille, Music by Julie Roué, Cinematography Emilie Noblet, Edited by Clémence Carré. Production company, Blue Monday Productions.

Duration : 1hr 38 mins. Cert. 15.

QFT note: Léonor Serraille’s Cannes Camera d’Or winning drama stars Laetitia Dosch as a 31-year-old struggling to find her place in the world following a break-up

Prone to being her own worst enemy, Paula lugs her ex’s pet cat around Paris in a cardboard box, freewheeling but determined to get back on track in life. As she meets different people along the way, there is one thing she knows for sure: she’s determined to make a new start – and she’ll do it with style and panache.

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Jeune Femme

The starting over in the world of relationships requires many things. Firstly the previous baggage of the previous life choice is in need of assessment and revision in the learning or unlearning or making sense of other people as they find you and you find them.

Paula is out of a 10 year relationship which has been a high reward low risk conscript. Safety and no children or ties. So to find herself without the means to survive is a shock of the first order and she is in a compelling meltdown when we enter the picture. As for the future it happens from the circumstances outside the flat her ex partner, Joachim Deloche’s identity is not brought in for a long period.  Fraught phonecalls only.  The only companion going forward happens to be their estranged cat, rescued from the neighvours store.  This is a very sharp fall from a high level of what seems a normal existence and the suggestion of difference or reason for the break up is not clear. Every indication is it ought to have been sooner which is probably nagging throughout the following period while new answers are sought.

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Outside looking in

Horrible as it may be the notion of breakdown is treated comedically here. Horrible as the notion of looking inward on someone’s problems is almost voyueristic and as approach it requires for our benefit to be done with sensitivity and prove unlike any invasion of privacy. Believing this is relatively easy as the outward play of antics unfolds. The new partnerships of herself with every aspect of her life are calibrated. We are asked to engage and engage we do with the dilemmas false and positive states Paula encounters.

If it is not refreshing, refreshing in the sense Paula is freed from this past, she verbalises it instantly.  Paula is a realist and needs to be.  While the circumstances have altered greatly, she is virtually without funds, resources, or outlook or job and has been estranged from her family. No siblings, just a Mum whose one live is as a loner who all have left her to her own devices.

Ten years investment even without creating a body of work in concert with another, anything representing a life lived is almost ambiguously absent here. The high reward has been the cocoon of comfortable living which may have superficially or otherwise been of benefit to the onward and upward Joachim but is the total opposite as it is found for Paula. Weird as this may seem it is were we are. This is Paula.

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Travelling companions

Paula is here in the central representation of a modern woman whose future is in flux at 31.  Therein lies the test of the film. Do we believe this pretext do we engage and go on with the premise? As it is it is very easy to become part of the whimsy and progress if only because it is not our journey. The meltdown mentioned at the beginning is a force which exorcises the anger. That says plenty of the observed strength Paula gas and similarly you ask would I be so strong? The authorial interest is writing a series of questions.

Who am I Paula begins to ask and when asking herself is able to suggest she is who she makes herself.  Not defined but someone else’s love. ‘You the world to me’ type of trope which presents as when reversed, ‘I no longer have you so I’m nothing’. A variation of this is a positive and mortality is better than immortality if your alive sort of thing. The viable life is all that need be of concern to Paula and her focus is played out by her adopting various personas on a trial basis so to speak – in increments she tries various tactics of approach in meeting people which is problematic often and surprisingly gainful in others.

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Pulsating self

Clubbing an music are in her heart as a strong connective muse or even identity though that is not entirely properly explored. I saw her embrace the music and discard the palyacting and physical involvement often overarching its ambience and drive.

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Determined to set a fresh positive start again, going at the objective of finding a partner is a priority for Paula and her assistant is a curate cat. There is a premise in the making here where the prospective lover must like cats though not necessarily be as driven and cat dependant as Paula. Meeting new people is not a problem and with the whole of Paris, the city of romance a map of lovers imaginings in all directions Paula has the positive notion of claiming her rightful place in the bewitching quest mere mortals find a life’s work. The different people she meets is the passage of this story and it reveals to Paula and us the audience revealing aspects even a 31 year old had forgotten or mislaid in the past, 2solemnly lost faith in the other part of a relationship taken for granted and through that misled into the future.

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Redesign

By creating a new future and being adaptable – Paula insists in an interview one of her opportunistic happenings – she constructs a person who is meticulous, sporting, methodical, unconflicted ambiguity employed in a beautifully framed episode plus humour. One of several identity formulating encounters which makes for great cinema and form neatly composed portraits and each asking and straining to avoid placing Paula in a pigeonhole of convenience. Paula is evasively loveable. She is attractive in more than mere presence and given the reddish aspect of long locks she combines outfits in a multiple method acting ethos sometimes a ‘hint pop star’ haute couture aficionado or arty bohemian. It is all productive in the sense it provides us with multiple viewpoints but for a Paula it is a case of being all over the place. We learn as she – gently – does that she is her own worst enemy. For empathy we are fellow travellers, at least I went with it and given the superb mix and flow of the various disparate elements each following very different paths it was very watchable and entertaining often gruesomely funny while also having edgy bottom notes which are typically well handled as French cinema is at ease with. Never leaden and stale the good and bad are evoked with relativism and beefier in Paula’s problems and her dealing handsomely and genuinely with warmth to claim the prize of delivering a very good film.

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Transient visual loving eye

Visually this film carried with it the history of masters of the art of storytelling in French cinema. There were overhead views of street scenes taken at the poised easy pedestrian pace importantly defining place and other elements passing by unobserving what we are watching from above. Their are several scenes you will probably want to remember as they are formative. One I loved was during an on the move job interview where the interviewee who was a dancer took us on a joyous sense of movement up to a maids room in a longish sequence. It was beautifully done and in its contrast with previous and later scenes lent choreography to the viewers experience while removed from dance. A piece of confident and imaginative cinema.

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There were other scenes. Roaming scenes, one with her Mum, one inside and out of a shared sofa apartment with someone who believes Paula connects her with her past. The Paris invoked is not over sentimentalised or over evoked but is compellingly real which is certainly a big positive for a debut feature director.

Portraiture by camera

An instinctive panache means ever new beginning is treated with sumptuous panache and devilry by Léonor Serraille’s habit of playing the positive and not subscribing and making Paula subscribe to the desperate negative aspects and sometimes harsh reality in play. This is then visually expressed in the vivid colours and interchangeable almost clothes horse persons of Paula herself as she mediates her self in the circumstances as thrown up or found, actively sought out.

Parachutes are deployed metaphorically and an internal mechanism is activated announcing new starts. She is able to land a job, in fact two and one is as a babysitter to a young girl whose introspection and absence of ‘love’ is given life after several errors and misreads by a paula. This is the dancers part and it is a constructive form providing contrast to the other shopping mall job where she meets again another earlier acquaintance. Ousmane is another character we meet whose job does not fit his ambition and the comprises all round are length and common. Material things are not the object of many but the consumerism is what has them survive wither as sales people selling a dream or minding the spectacle it is another strand. Also I began to think the professions similarly were in a strange place.

Choices

Deep into the film there are choices arising for Paula involving relationships and there are further encounters with a Doctor who herself is open, and in keeping with the exploration, she too is seen to look into the past for meaning.  They spill out from everywhere, emotions caught in memory, always present and demanding.  The past tells Paula things she has not been bothered with and newness presents a clean slate in many ways.  The estrangement with her mother is also a recurring theme and Paula is kept searching in that part of her life for its meaning. Something is still harming her from within.  It I spoke something’s that she holds onto and cannot free.  My take on it was of her looking for an inner sanctity which she never had and only occasionally does she find it and it appears to her in aloneness when with other people.  The music and Yuki influence draw on this.  Even the job in the lingerie mall has its aspects of learning.  Men pay attention! The luxury of lingerie is a means to pamper which all women look to as preening for themselves and is a solitary thing, a skill in touching their feminine empowerment and from that whatever comes comes.

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Comes discovery

Towards the end these choices however hard in the gathering are considered in the new mindset. While it is seen to evolve and accumulate throughout their is a knowing Paula played with drive and passion bearing fruit in every scene, by the exquisite multi faceted Laetitia Dosch whose companions in the action provide a superb robust support and ever pairing is special in some way. To name them would be be mildly patronising. There are several very, very solid performances which are needed to connect and deliver the levels reached by Laetitia Dosch in her emotional gymnastics and electric sound performance.

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Conclusion ####4

Very often the title such as Jeanne Femme is a prologue to a let down but here the title only introduces a very well gathered opening into the observed world of one young women after a breakdown.  Never trivial but incredibly full of fun and light-hearted air filled space, the visual appeal is intimating the approach taken by a Paula who is – as cliches go – her own worst enemy except once ‘free’ so to speak after a very long and significant relationship is only concerned with being positive. A cat (Muchacha) gets much publicity and air time as a reclusive friend and foil.  It is a female of exotic fussy tastes and contrast to, it has to be said, of the chameleon taste and forced re-identity moves Paula is forced into confronting.

This is a very brave and rewarding tale on just a view of feminine worlds and the multiple characters, many formed very robustly and assuredly, are thrown at the complex recalibration going on and shedding some more and valued insights along the way. The slate may be wiped clean but is it to be subject to putting down new markers and reinterpretation of the past and memory and how do the fates unfold. A lovely film and instinctively sharp delivering a very decent story of contemporary searches for self.

John Graham

18 May 2018

Belfast

On at Queens Film Theatre form 18 May until 24 May 2018

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Loyalist Statement : 09/04/18 comment

 

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On 09 April 2018 a Loyalist Statement ahead of 20yr anniversary of The Good Friday Agreement in Northern Ireland was read out in The Linenhall Library, Belfast.

Linenhall Library Belfast assembled group.

Rev. Harold Good, Jim Wilson, Retired Archbishop Alan Harper, Jackie McDonald, Rev. Norman Hamilton.

Combined Loyalist Military Command, Fernhill House Belfast, Ulster Defence Force, Ulster Volunteer Force, Red Hand Commando.

The delivery of a Statement by the CLMC grouping in conjunction with several Religious enablers on 9 April 2018 took place in the Linenhall Library Belfast.

Below extracts are extracts from the Statement removed for my comment.

The context is unaltered.

1.
‘For too long we have been berated for our past.’

There is always expectation such history need be included in discussion.

No one has a eraser for the past.

No one is impressed by apologists but in factually correct acknowledgement of their past.

The GFA already has provided a get out of jail free card.

It does not dispense with seeking the untold truth or compensate for absence of concluding information.

2.
The words – ‘in the context of republican reliance on divisive identity-politics’ – disregard the very same conditions loyalist and unionist politics chooses to identify itself by.

Having a teapot and calling it a coffe-pot. The point being the tea leaves not coffee are used in it still.
Other metaphors are available.

Democracy enables no-one to be excluded. It is proven.

3.
‘We have made this clear many times and have indeed contributed to previous work on dealing with the past.’

Yet when an informer gives evidence against his former allies he is threatened with violence.
Other opportunities in respecting the need for a truth process have been undermined by the ongoing challenges and threats made to Ed Maloney and for what is contained in the Boston Archive which is in part accessed by the PSNI.

4.
‘We further declare that any engagement in criminal acts by any individuals within our organisations will be regarded as placing those persons outside the memberships.’

This implies the criminal acts will be found through due process of the Law and post conviction.

It fails to go on to say any information concerning criminal activity will be passed on by the ‘loyalist group’ to the PSNI should they become aware of unlawful activity.

5.
‘Loyalists must have ownership and control of their own future.’

There is no removal of ownership to require this statement.

The elected representatives – council – assembly – parliament – are the carriers of the future aims of citizens.  In recent elections even endorsements of the preferred candidate has been underlined in publications, press statements by loyalist groupings so it is who they elect to represent them that responsibility is to be shared.

6.
‘Now is the time for a renewed loyalism, with a new impetus to meet the challenges ahead.’

This statement again is not cognoscent of the available currency of process and outcomes presented within ‘loyalism’ regardless of timeframes supposed or not. Nothing is altered by this set of words. The context is made to seem uplifted by this nebulous meaningless phrase.

It avoids Civil Rights, Human Rights referencing and therefore is unconnected to any direct policy or concept.

7.
‘We want to see a better future for all in Northern Ireland and where the residual effects of conflict are recognised and addressed in a reparative manner.’

It is only reasonable and just to expect nothing less and this should indeed be axiomatic given the broad church of the people in Northern Ireland.

Futures past

It has long been held a conflict resolution process is in need of a resolution path.

The UK Government undermine this and the HET has as the film ‘No stone unturned’ shows provided only partial answers to and are not complete or with intent to complete.

The actions against any actor of violence including security forces persons are not without culpability and require to face Court trial as those who were freed under the GFA were processed through Law.

The difference is the actors not yet facing trial whose cases are live and intact need face justice at the earliest opportunity.

Comparison should not be made and is not made here with the premature release of Prisoners first sanctioned by Secretary of State Mo Mowlem in Agreement with Prisoner Groups outside local process of consultation.

The release of Prisoners under the GFA was a de facto proposition made possible by the Secretary of State after her discussions on the prospect with those in prison.

The proposition was a brokerage point – unjust, unfair and failing in criminal process – under which Law is maintained presently.

To conclude the statement on a note of sectarian exclusivity with no progression to mixed communities sought or acknowledged this merely parks division interminably. It asks it to be aided by others who accept this condition of insulararity politicised and not to undermine gained peace.

Footnote.
The main item taken from this statement by most observers is the element concerning criminality.
The fact other items on truth and justice for victims and parties bereaved by acts of violence by paramilitaries and in some cases in conjunction with Security Forces remains outside this statement as unaddressed.

The remainder of the text is positional marking of the GFA twentieth anniversary and is a choreographed exercise presumably organised by the NIO and British Government with ROI input to ensure the optics of Loyalism has a functional presence at the date of the Anniversary.

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It is also noted most local newspapers have been advised and given notice of the ‘theatre’ of Political underpinning in order to converge on a unity of purpose – that of analysis fed by prompt avoiding ‘fake news’ diversity.

The orchestration included the ‘adoration’ of the City of Belfast by conferring the Freedom of Belfast on two American participants and enablers of the GFA.

The currency of the GFA is hugely undermined by the timeline underpinning the main lack of progress in eradicating sectarianism and failure to meet levels of social equality.

The excluded are further undermined by Political stalemate and economic (Euro/Sterling) argument predicated in withdrawal from the EU.

A footnote exhibition opened one week before the GFA anniversary at the Ulster Museum on a redesign of ‘The Troubles’ curation. Within it are numerous very poor exhibits and very badly written text which give a wrong historical narrative to coincide with the false political optics presented by the statement and events surrounding it.

It is an indictment of generations of naysayers and lying to the public remains the States priority.

Press

The words of Suzanne Breen in the Belfast Telegraph on the day the great and the good came to remember the Good Friday Agreement of twenty years previously to the day, put this work in context.

“It appeared yesterday that loyalist leaders were just trying to join the Good Friday Agreement anniversary circus. The public want real change on the ground. Not much chance of that.”

Like all of us we will believe it when we see it.

There is a pressing need for both loyalists and unionists to see beyond their own horizons and to connect with others to build external networks and courses of action. A more open and confident sense of Britishness would help facilitate this evolution.’  Graham Spencer/Rev. Chris Hudson.  Belfast Telegraph 10.04.18

During ‘The Troubles’ is was Britishness, confident and open that drove the sectarianism led defence of community of their identity into violence.  The invasion and burning out of Catholic families were loyalist protection of their community.  Later ‘Spokespersons’ came to the fore in Loyalism justifying tit for tat murders and the Glenanne gang were aided by security forces. Army bases were used for training under the umbrella of TA and UDR tags. Membership was based around an assured identity under threat.  Those such as David Ervine, later to renounce his violent past; he took the road of violence following the Bloody Friday Bombings, were cheer leaders for hatred and ensured recruitment and loyalist districts became terrorised just as they are now by opportunists and criminals in the name of their cause. Alongside was intimidation and internecine warfare where a loyalist would shot and kill a disobedient loyalist.  Others who disagreed in a provocative way by speaking out were executed.

The words ring hollow as they did back then when Ministers and Priests saved lives by giving shelter and guidance to those who chose not to become involved in violence and by acting as mediators but those actions were few and far between though it would have been a whole lot worse had they not. Families were split and divided on fundamentalist lines. Like Religion differences the Clergy made their trademark distinction exactly that. A distinction without conformed unity. The Rev. Roy Davey, a man ahead of his time set up before the conflict called ‘The Troubles’ began the Corrymela foundation for peaceful reconciliation and love among races.

Prominent compacts have come and gone. The Women’s Coalition is no longer around. The Civil Rights Movement no longer exists. The Nationalist Party, Northern Ireland Labour Party all have left the stage of Socialist politics and silo politics rules the province and without a representative  Government.

This is the context in which the statement and the past theatre of resolution politics is to be seen.

 

John Graham

13 April 2018

Belfast

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Speculative Skins & Amanda Turner Pohan : An Arts Review

The Meditative one

Science is made fiction and the body is altered. In the NI Science Festival a co-operative installation by Rachel Steinberg of SOHO20 Gallery Brooklyn is commissioned by The Naughton Gallery Belfast to produce the exhibition Speculative Skins. Known in the festival under the title Science Fiction and the Body it explores the boundaries of ‘where does a body end and a piece of technology begin’. I found one piece in particular engrossing and integral in the open thought bringing those boundaries which are constantly under revision as our potential futures are explored by art investigations in media, propositions of artists in music word and the visual arts, while along with scientists bring new meanings and alterations to our perceptions. The exhibition is supported by The British Council.

The Subject

It is itself. The artist. From Orgasmic Exhalation Device for Body Spray #11 (2014), Amanda Turner Pohan recorded her CO2 emissions during orgasm and used the data collected to algorithmically compose a formula for scent – a perfume that is wafted into a space periodically through an atomizer. Using the same data she plotted a form to print with a CNC@ router the physical body Orgasmic Exhalation Form #01 (2014).

The form occupies a Gallery space as a body might. Onto the Gallery wall beneath shared text of four lovers conversations found on google are adhered. The wall is grey. For Amanda Turner Pohan this replaces the components of our own stand-ins for the body, self-consciously attempting to synthesize a formula for human empathy, that even the best of our current technology can’t quite master.

 

 

With the distance between the two spaces – the one it resides in, in New York and this Naughton Gallery installation, curator Rachel Steinberg came up with the idea of the projection presented on the Gallery Wall as an active moving image floating over the text and the emitting Orgasmic Exhalation Device for Body Spray #11 (2014) which is not a substitute but a transfiguration of the concept. It when seen in conjunction with the atomizing device creates a distinctive correlation. The atomistic choice with the projection is almost to a transuding state. The tenuous relation is very apposite. A body is acting in the space and this is the figure raised and floating in as a projection in space.  I likened it to a future state where the body is capable of space travel without a protection and the/our ‘speculative skin’ is developed to withstand the elements of space and take the cubist form and then develop the instruments of our dexterity when summoned.

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Atomic signals possess us and this installation is miraculously astute. It has a synthesis of elements composed to bring down, breakdown structures from their complex abstraction as entities to a body which in the true sense of legacy similar to Picasso and masters of the cubist collage and self figurative genre would call pictorial self analysis. Here the artist is present in more ways than one. It is a beautiful piece of art in every sense. The assembly is from an orgasm and height of excitation intense and female. For both male and female it is release. One both giving. There is a reassurance in the act of future spoken. When one happens in the presence of another the conjoining is a unity of purpose over and above the physical spasms of its engagement. The artist expresses like hot milk a olfactory stimulus.

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The work is part of a series delving into the self. From her perspective Amanda Turner Pohan asks many questions of the reality of our lives and the future we patrol and expect through exploring the limits and boundaries and pushing them out in separated forms awaiting their return as something reconfigured. The series is know as The Signals are Caressing us. The accompanying exhibition literature (italicized) explains the body’s complicated relationship to technology is her source material. Other works digital and physical are extensions of the themes.

Using present materials as they are on our and the artists journey of utilization the work is contemporary reality. The simple forms of chemistry are bold and defining. To this synthesis Amanda Turner Pohan seeks to unfold her continued speculative encounter with in creating further work some of which can be seen at the originating gallery.

 

 

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The Encounter

The eyes are sharp and clear. Blue and perceptive. This is an encounter of introspection. You cannot explain the world in metaphors. You can see it though for what it is or is not. The imagination is your strongest ally. From where it came only your atomic composition of phosphate and deoxyribose. The explosive actions inside you of this miraculous helix of dna is what drives each of us and collaborates to creating a being. Amanda Turner Pohan is a practioner of the exploration on the edge of discoveries made known through her incisive clawing into the self awareness which makes u# identify as somehow spirits in transition. Awareness is to regard the self as a simple helix form from which to evaluate all other entities. By taking chemicals and enclosing them in a liquid the container is fed a tube and it exhales and gathers in from its presence as we do. Our presence is engineered by our gathering techniques and by our exhilarations.

The simplest form which profoundly touched me was the image of a body form which had itself been edited back to a point where it remained recognisable as limbed breasted form like a woman in an anthropomorphic state. I live next to a former bakery. It must be nearly eighty years since last made bread but I see and sense it’s past life. The energy of others resides inside and it resting like a process of manufacturing awaiting its recall. The people who made bread have moved on and others take on the task elsewhere. This function is therefore displaced and the building awaits repurposing. It is not empty but vacant. The Bakery in Brooklyn is where Amanda Turner Pohan shows her work and collaborations. Consciousness expels from the rooms of the repurposed Bakery. It’s food is nutrients for all to imbibe. You will not eat it but will consume it. Not in a materialistic fashion but as spiritual nourishment.

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The grey carpet ‘receptor’.

Our society has this duality of materialism. The lotus on the water is separate but recognisable as difference. Combinations are sent to us in the bakery we visit to feed our lives. In this space the artist has found something for us to see and experience. A sightless person can have the surroundings described to them, a deaf person can feel the vibrations and sense the place as we cannot. On the floor of The Bakery is a the white anthropomorphic form I see as cubist reality. It is still but in the transport of the idea to the Naughton Gallery here in Belfast it’s projected as a floating digital image onto a nineteenth century university wall. The wall bounds The Great Hall and beneath is the colonnade which keeps the rain off its visitors for the grand occasions in its calendar. In it Presidents and Queens, Senators and Religious leaders have been. The white spirit of the anthropomorphic shape spirals on the wall oblivious to the past accolades it now surmounts.

Form takes precedence over notions of form. The cubist reality was a symbolic stripping back of form striving to distill the watery world we occupy. The fluidity of essences are sought and combined with allegory and space shifting determinism. The form I see floating on the wall is much more than this unsettling presence and is without any external attachment when I view it. The attachments would come later. Instead it is transportive. It has layers in its movement which halt and talk of its otherness. It is a piece which is cubist in every sense. It is an evolving piece also. It allows the medium to give you another dimension through its movement and gentle soliloquy like a ballet in space. The artist of this is conscious of the newness of the relocation by means other than its physical presence. It is after all back in Brooklyn a three dimensional object. There it is similarly venerated and casting out senses of its organised form.

Here it conveys passage and future. Where the spaceships of Star Wars and science fiction remain harnessed to familiar tropes this object speaks of other things. Instead of a protecting shell the body is itself protection as if in a future world travel will be as humans in an anthropomorphic vessel which when required and elegantly, from its cubist shape, evolve the dexterity fingers to touch feel and caress, hold other things. The mind itself within the shell of its form – unlike the pod capsules of Altered Carbon – carries memory and learning and skills forward in a peaceful receptivity. The way the work conspires to throw ideas out is both alarming and satisfying in a way that is beyond the measure o& its parts. That itself is metamorphosis of some kind as art. How can art convey such things time after time. Like an antelope in a cave painting it is meant to be nourishing – for the artist and the viewer.

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Today’s modernity is stated here and it is projecting more than a cave painting as criticism is since Aristotle and probably further back, as art it is subject to diverse opinion and thought.

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Braque and others created the form of cubist art and a local Irish Artist Mainie Jellet -Death of Procis shown here (below), also created in her work interpretations via. very methodical line graphs and preparatory drawings – much the same as the collection of data to form the piece here dealt with.

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Mainie Jellet -Death of Procis

This is a ‘new’ age renaissance kind of work as it puts up our future kind for us as conjecture with meanings and an infinite range of imaginings. I see it as a symbol of the human in the future as a continuing evolving entity capable of reinvention and containing all pasts. The chemical composition of your atomic composition of phosphate and deoxyribose will be taken away an reconfigured as memory which is laden with crossed out errors and the empathetic result is forging frontiers beyond out wildest imaginations. Perhaps even as an earth world no longer in existence except as new stars and elemental dust particles. The richness of art presently is to be seen and appreciated for its presenting us with such imponderables.

This work has much more to convey and is one I have still not reached the apogee of.

Further reading

From The Planet of the Blind by Stephen Kuusisto

I. The Village of St Ovide

”For Sun and Moon supply their conforming masks, but in this hou4 of civil twilight all must wear their own faces.”

-W. H. Auden, “Horae Canonicae”

“ ‘My soul wandered, happy, sad., unending.’ “ (Neruda)

“ ‘The branches are dying of love.’ “ (Lorca)

“ ‘Show me, dear Christ, thy spouse, so bright and clear.’ “ (Donne)

“ ‘Here is the shadow of truth, for only the Shadow is true.” ((Warren)

from chapter 6.

II. Motion.

. . . If we propose

A large-sculptured, platonic person,

free from time,

And imagine for him the speeech he

cannot speak,

A form, then, protected from the battering, May

Mature: A capable being may re-

place

Dark horse and walker walking rap-

idly.

-Wallace Stevens

“The Pure Good of Theory”

Speculative Skins is on at The Naughton Gallery from Thursday 15 February through to Sunday 25 February 2018. May extend. Hours 11am to 4.00pm (closed mondays) and features artists Loney Abrams & Johnny Stanish / Salome Asega & Ayodamola Okunseinde / Brice Dellsperger / Nora Khan & Steven Warwick / Son Kit / Katie Skelly / Naoko Takeuchi / Amanda Turner Pohan / Katie Torn

15.02.18 – 08.04.18

John Graham

22 February 2018

Belfast

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True Colours : An Exhibition Review CCEA Ulster Museum

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Current exhibition on at Ulster Museum

The work of some of Northern Ireland’s most exceptional young artists will be on display at the Ulster Museum during January and February. CCEA’s True Colours is a showcase of the outstanding artwork produced for the summer 2017 GCE & GCSE examinations. The event will be visited by almost 50,000 people over the coming months, with many schools making trips to show other young artists the standard and quality of work produced in Northern Ireland.

Congratulating the students on their work, Justin Edwards, CCEA’s Chief Executive, said:

“This is now our seventh annual True-Colours exhibition at the Ulster Museum. The venue offers a fitting setting for such outstanding work. It is also a pleasure to be able to give the public an opportunity to view the diversity and quality of work being produced by young artists and designers.”

My take on seeing the works

It would be absurd to be over critical of the work produced by students embarking on their art expression given the constraints education put them under. The variations of work attest to the dilemma and prodigious talent in the realm. What on earth becomes of it is pure speculation. What is evident is the quality this minute of each object on display in whatever form it takes.

So that is where to begin. Following a narrative seems part of the octagon of the wonders we see.

Those Dark Materilas onboard in lexicons of abrupted life.

The immersion of young artists seeking out their own interpretative, derivative direction is passionately taken as a journey of self discovery embracing work which creates fictions of realities presume innocent and observing laws of insight. Nothing is further from the truth in seeing other work then completely transcending its thought patterns to create a unique observance. Only by seeing something recognizable can it be truly dismissed. The artist is sent off in another trajectory making their own valid statement no matter how they arrived at it. Each artist here has 1. Chosen a persons work to interpret. 2. Has looked to themselves as affected by the act of making art.

The three images above converge in the piece to form the first image and  is sublime in its execution.

The symmetry of the energised triangulated sculpture throwing away precepts of tradition was one piece which would have been evidently secure in its aloneness, singularity so the added function of development stages is more the academics statement than the artists statement.

This is a scholarly path and important to negotiate while picking up techniques and skills of seeing and illuminating their work. ‘Artist as Thief’ is the name given to a parallel exhibition and the meaning of this one is of a similar formula. In seeing the Ulster Museum CCEA Exhibition work

French horn player (untitled) a coiled bell by Tom McVeigh

I was totally drawn in by the art delivered in one persons almost narrative approach. They pay homage to the skills or an artist of music. The quietude of a study room, with natural light augmented by a photographers tripod lamp is a settling peaceful restful prologue to a homage of a fellow artist. The starting point is the room. The ambience and colour it lends to solitary performance in the domestic room or retreat of a college of music is a concert of nuanced environmental choices. While large windows give an air of radiance of the seasonal changes of the everyday, the light is warmed by the barrier of the glass clear boundary separating sound and the external world. Centrally is the French Horn Player sitting on a stool in a natural balancing posture with the body caressing an instrument at rest. Both are in symmetry as one with the other able to convey in union a voice now silent. The studio is a piece and setting. A drama is unfolding of a woman’s comfortable nurturing of a chosen companion. An intrusion is taken in for the sake of art and cadences are many. Unspoken is the collaboration we see as a work of art.

The way Tom McVeigh has produced around this final painting, his progression toward it is very comprehensive as study goes. It is a work produced to ‘convince’ an examiner of the process being understood. This is quite strange given the academic is neither of any import other than the consignment by compliance with theory or method the actual approach which the ‘examiner’ is without. They are not in the process but mere witness. The tools are encouraged and some direction taken but to produce this extent of analysis is perverse. Such are educational norms.

 

 

 

Superb study work can stand alone

Many of the students have taken the instruction to find an artist and explain why they appeal and how they work. The choices are something of a hit or miss formula. Pinterest Instagram, Art Network, or any familiar Art arena seems to have Ben trawled and then a peculiarity sought is explored. The appeal is not in question. The work forms are varied and experimental ways of working are placed into ‘categories’ printing, installation, sculpture and painting, drawing. In a classroom there is lenient persuasion or implied progression. So as not to derail original thinking the ideas go unchallenged. The effect is often tedious and narrowing. Unlike the primary educational functions undertaken centuries before where a talent is nurtured by studio work on real pieces and learning in conjunction with an artist as assistant the ‘school’ precedes the nurturing of particular insight with work conceived is absent here.

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Psychology and the human mind occupy a lot of the work

Of all types of work seen the idea is key.  Transforming thinking is the outcome sought by the artist and viewer. Where I found work which transcended the ‘method’ it had overcome the running commentary of connective narrative, important in degrees though it was in providing an’analysis’ for the pupil to find encouragement and self awareness from. The outcome is what? It is a piece which out to stand on its own. An example is one which needed no backstory but required going through the art gears to establish its own place. The process is the viewer observing it and making a story or conclusion or even lost in challenging considered thought processes to be completed after the experience of seeing.

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Layered installation & other views

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I often find reflection part of the process and it need not have any signposting.

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Less is more. Picasso was a deceptive artist and seeing all manner of ‘objects’ as you do in the Paris Picasso Museum you see the machinations and the way a print is found or painting is brought forward. These study facilities are career products and are only in the after view are they precious in anyway. The single statement of pieces apart are more relevant as a basis of understanding. The understanding is often not the purpose but a communication of a form, a connection however tenuous is primary to arts place in our world.

 

 

Prophetic visions in diverse materials

What annoyed me was the compression of the work in a space into which the curator, teaching professional, felt no hierarchy was an issue. The work suffers by not being seen properly. One pupil had a particular set of skills and had many more dimensions to it than adjoining work. The adjoining work was a complete very profound and distinctly of another ‘camp’ while equally assured in it. So both were lost companions in need of greater exposition. This clash and compression was and is a feature of exhibition when it is sanctioned as a ‘critique’ of sorts. An end of year show will always look like an end of year show if the curator so requires it to be seen widely or in a step up of a kind endorsing education methods. The Art College in Central Belfast often fails to display work appropriately or in any depth of curation. It avoids the exposure or display of ‘see the process as us teaching/learning’ to create. One thing is certain. The work here is to be valued again and again and new work is the probable outcome while this cannot be discarded as ‘juvenilia’.

 

Outsider art

One artist, a Photographer was bold enough to campaign down the road of observation of their own community.  Never staying which side they were aligned to or not at all they provided one of the most illuminating and sanguine pieces of all.  In a Frankie Quinn rather than Paul Seawright kind of way the observations they made were abrupt sharp and visually coherent full of meaning.

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The image in particular stànding out is of a Twelfth Procession and day two persons, an adult and a child, the former of (possibly) Ulster ethnicity and the child different race, they shared a  palm slap provocative and prescient of racial tension.  The tension of unity bound in apparent opposite pathways.  One is going in one direction and the same human nature is belonging whichever road taken.  It could have been staged or image edited and with added colour.

Some other images by the same pupil are equally observant and challenging.  One has a frame cutting off the front part of a band member and is framed on an onward heading through ,arch with a H&W ubiquitous and defining.  Others are of feet and bands passing some members, a boy recognising the photo taken for instance in a capture of memorial probably not differing much in age.

 

 

Special stages in Art

By way of variance of approach and exercising different ways of producing an image the author has gone down the route of using a drawing medium.

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Assertive pieces

The dark and light of materials possibilities is sharply recorded.  Here are a few other examples and by no means is this a full study.

 

 

Material truths

Dendrite’s and neurons place heuristics in a real world or creative truths on a line of culture. So going on and based on fear protection threat assessing the life course in unreal terms is easy for artists abstracting life. Realities are adjusted and systems of obedience are liked by pupils intially but intelligible constructs can win through the conscious of a teaching environment. Compliance is often a risk which is overridden for the sake of outside. On the inside obeying the rules is a given and it constrains perfectly good thought however perverse or irregular it may be. Local exhibitors Gilbert and George will be visited by several of these artists I suggest, others will not make it to ‘the city’ to see the work. They are masters of conformity. In a altered real they implicitly comply. I saw their work decades ago and it was evident then. They are absurdists with a conservative and compliant existence. For the Brit art era it was a comfort to know they were around to play conformity for all its worth like a paid of John Major twins and grayness which they actual added a might of colour to was a tame avenue of cave weeping aspirations and endurance.

Enduring Dissonance 

I saw the problems 21st Century pupils face in their life emerge and by dint their artwork. Trina Hobson, a local artist, often goes back to the neglect and dropping of identity. It has long been around as a trait. Here the pupils decline identity pigeonholing purposely and suppress the invasion of image. Especially self image. See the photoshop and scratched identities in differing work. It speaks of an age which is harming. The adult lesson prevailing is of the wrongful placing of image as being of importance in the spontaneous exchange of their continued Facebook, Instagram and the media driven wrap is intense and unwanted as here, is seen as being declined as a value system. Scars occur in art to express this emotion purposely and I feel it is not thoroughly enough tasked because it is under the aegis of an educational process. The Course Curriculum. It is as circus performance not educational but seen isolated and apart from other subjects. This is proof of a talent and voice which the adult will not accept for its obvious lesson but will simplify and sell it back to the youth producing it in its sundry forms. The paying of the cost is pupil borne.

Dry material is evident. Not liquid or translucence altering body of altering substance is present. The intention is to allude to permanence. Therefore where is the place of performance and dissolution of spirit observed? Incremental transformation is not allowed or suggested in the work because it’s intangibles are unclassifiable. The closet to this obtuse element was a display of cement like material. It is interesting the future of materials will change apparent limitations of art as digitisation has. The phosphite and graphene tomes of solid state technological choices unseen here are a future conduit of arts material change.

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It goes way beyond many art professional work seen elsewhere and deserves seeing often and in a clearer context.

 

 

On at The Ulster Museum Belfast Rooms Ground floor.

John Graham

30 January 2018

Belfast

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Architecture : Art in Architecture

Kengo Kuma cites Seurat’s influence.

I used Kengo Kuma’s books (little) on Small Architecture and Natural Architecture as jumping off points for a discussion on the equation with art in its many forms which is to me fascinating. <strong>Kengo Kuma</strong> (隈 研吾 <em>Kuma Kengo</em>, born 1954) is a Japanese and professor at the Graduate School of Architecture at Tokyo.  Kuma is also noted for his prolific writings. I tale heed when an Architect talks about ‘caulking widths!’ and the other day I spoke to a tiler about the ‘Equipe’ (Spanish) tiles he was using and they were perfectly utilised and the caulking was a light grey instead of a white or dark grey with the tiling – external and white polished ceramic – little modulations on a modest retail facade. The detail imbued by Kuma is similarly drawn.

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Graham Sutherland work

With painting, a subject and other visual Art forms, techniques line up tougher to provide solutions and knowledge we otherwise take for granted or fail to see the connections between. The challenge here is to express the randomness in the regularity of nature’s life and movement through time which is a perpetual engagement.

Natural Architecture is calling us to think of Buildings as clothing says Kuma.  In the characteristics of the body the Heritage Museum of Kuma (Hiroshige Museum) is in three layers. An overcoat of 3cm x 6cm cedar slats, at 12cm intervals, inside his a jacket of <em>washi</em> paper wrapped cedar louvred. Finally on the inside is a layer of <em>washi</em> paper illuminated from within. The structure and elements of walling, flooring are at multiples of 12cm.  The studs of the light walls are at 24cms intervals. The walls are like Japanese inn <em>shoji</em> screens. As this form of construction would be in a public building a layer of plasticised paper was applied to the inner layer to thwart children or damage from visitors.

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Modular

While this is a compromise the principles hold true.  The flooring too is 24cm squares. The structural engineers – Shigeru Akol and Satoml Makino – designed slender columns keeping the rhythm.  Using humanised materials – <em>plastics</em> – would seem like abandoning the natural approach or compromise but Kuma correctly maintains there would be no ‘Architecture’ or it would be at a standstill were modern inventions, uses not applied. There is no right way he suggests and things must co-exist.  The form of a Building must be a collection of things based on collectivity, humility and hard work.

When this approach is further stimulated by considering the outer world and the barrier the forms make with it there is a further compromise or idea to be taken in. The modular is Le Corbusier territory famously and he was also conscious of the natural responses. Even in The Modular. The plan of Paris 1937 had its relation to nature. Seurat is another whose senses were inspired as Kuma points out by nature’s rhythms.  He is conscious of achieving rhythm by ‘disrupting’ it through choice. The ‘disruption’ takes the shape of a lover for example shaping into modular form light shading a floor or water. It makes the senses defence the man made and the natural in harmonic resonance.

The way that Seurat found it – expression in painting – and engaging was to devise a technique most resonant with the experience of looking and show the world this manner of seeing.  When he was observing the Normandy headlands of other elements of nature, the way trees sway and people are set into a notion of place, be it as occupants in a man made environment or as constituents of a habitat defined by nature itself, he was at once aware of the <em>En mosse</em> unity of movement and alternating states.  Not many accept that as a way into his work.  Instead some see it as a rejection of the impasto approach of his contemporaries and his sparking pointillist invention as a fractal of spaces with each point belonging in a sense to its neighbour while outwardly there are no similarities between those outer objects and the near object except through the continuum of colour balance throughout.  Each colour being totally different yet at the same time forming this <em>En mosse</em> delight in seeing. Seurat like Kuma and others before him were in essence realising the unity of form through observation of the surreality of paint and line in Human form. They would have it demanded of them to react and the stimuli would be forthcoming with and in ideas and expression.  The Normandy work Le Bec du Hoc, Grandcamp (1885) is one such breakthrough in art.

Predating Picasso, Braque, Van Gogh and the many modern painters to follow his insight was to develop – and it was brought forward by drawing purely in pencil tones of black and white on textured paper this abstraction of thought now realised to be advanced in paint.

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Kuma points to three things that make up our world.  His Japanese senses using folklore and the tale of The Three Pigs.  The outcome is to allow the world as we see it to be viewed in any number of ways and thus Buildings need ‘conform’ to the metaphors of natures delicate balance.  Each ‘string’ of nature interconnecting as today science shows and continuously proves to us. The change is manifested in nature and stubborn as mankind adaptability is necessary and a given. The interaction too is often cited. That interaction between particles in ourselves and in nature and which artists find compelling in subject. As Kuma raises <em>Monadology</em> is the (Leibniz) theory of monad recombination or multiple variations producing single entities themselves compromised by time and interactivity.  Or words to that effect!

More temporal is the artists quest. Seurat was in his work a philosopher painter. With his expression he enabled others to see the vision of combinations in colour and their juxtaposition.

The painting most often cited as his ‘enlightenment moment, for the viewer, was Sunday Afternoon on the Island of La Grand Jatte (1884-86), undoubtedly the miraculous societal and beautiful flaneur, promenading, egalitarian viewpoint which took another perspective on the world within it the 57 or so characters. Does the black dog count?

With it came a one man view on which were to be built other abstractions.  Above is a psychological drawing of Seurat himself  (no.3.) as a lone person on La Grande Jette giving a meaning also in singular societal form, as well as seeing the painting itself being a singular reality.  The same can be said of the lone fisher lady next along.  Neither could it be construed, nor would he have sought that idea, as it having a special status, it simply became symbolically of itself.  It was as just one painting and each time Seurat painted he contributed further to the panthéon françaises of the stable of art.  The panthéon françaises is another route into this thinking. By saintly intervention almost the presence of spirit is told in Buildings and this is since Newgrange, Ireland, to this example, a national monument in Paris, France, it was used as a sepulcher for ‘eminancy’.  The Church that follows.

Church states of mind.

The church of Ste. Geneviève formed in 1764 was secularized in 1885 and to many as  monument was known in Seurat’s time Churches held a special imagery.

As nations define themselves through the respectfulness of habitat Architecture expands those implicated values. The shifting changes of the outer world are stilled in a Cathedral as the past is venerated and reflected on.  War and compromise of the human destruction of meditative states are shades of liberty.  The other sense within a Church most connecting with self and affinity to a higher entity is silence. The inner prayer. With this silence the words when the state of inner peace and enlightenment is reached some rejoicing or in the case of a Church worship is given in song and music. The condition of mankind is satiated temporarily as it is with paintings.

Life is temporary nature is permanent.  Edges of materials are often an artists field of exploration as they are in Architecture.  Glass and steel.  Man made and conforming to many attributes in behaviour. Behaviour is obtained as with man and neither is the person is defined by their behaviour but how they are. Conceivably individual and not as in relation to another thing. Force is applied to material to obtain a reaction and it is therefore defined by that reaction.

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Compromises are evident in Japanese thinking however revered it has become. Edo and one hundred views, a compromise numerically there, flipping the horizontal to the vertical, a compromise there. Intrinsic are the compromises of distilling thoughts into the numerical or geometrical whereas the abiding theme is regularly of time as revolving and returning as night and day.

Seurat never finishes a process in his work.  Rather he moves onto the next trial of the idea of seeing. The subject matter is only partially societal in its observation. Whatever is forming a frame or image it is to be subjected to a trial or excursive outworking in art. The medium is the matter. The concepts are conjunctions of the viewers perceptions overlaying the relative ideas of every artist. Be it promenading or working in the fields, or at leisure on a lake or fishing on a river everyone there is a discussion of life involved.

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After Seurat by myself.

Seurat genius’s was to form into his new-impressionist technique that abstraction which would influence other artists.  I believe this went into glass and sculpture. Henry Moore is attributed with ‘inventing’ the hole in sculpture but never alone with his art it can only be seen in relation to other works.  The preceding or later forms tell us what to appreciate of the work.  A value is struck and each one is different. A previous observation I made concerning this is found in an earlier exploration of Game of Thrones https://wp.me/p2R05n-ka in comparison with a place we’re a number of artists collaborated on the reforming of Coventry Cathedral. The artists there to make the point extremely well, just as Seurat made.

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I once had a long conversation with Zaha Hadid when we encountered together maromina plaster at the 9h gallery I think in London. Asking what I was doing and observing my touching a plastered wall with the Venetian plaster technique in understated glory she was at once in agreement concerning the multiple readings of the distressed appearance and randomness it evoked. The control of material was meticulous in its functionality and with little holes, ‘flaws’, perhaps gathering tiny particles of dust in the indents, the presence of the material as a singular statement of collected skill and artefact would be a long subject of materials and their compromised beauty.  Even now long after it, is the vision of the late Zaha Hadid whose work employed those characteristic formations of rationality along with the expression through material the natural value aesthetic she became renowned for.

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John Graham

29 November 2017

Belfast

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September Ends : A Photo Blog

Blogging Diversion

As I have not seen a film to review in the past few weeks I offer an alternative.
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Great Patrick Street
Here are some of the photographs I’ve taken in and around September.  Not necessarily in this year and also revisited and manipulated at times to draw out the hidden art.
The end game as UUsee it.
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The end game as UU see it.       Here is what Rankin said about his photography lately.

My versions of reaching into those places you see as touching you


Culture Night : Step into the dark. Part 1


Culture Night : Step into the dark. Part 2.

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Vanishing                                                     In the afternoon

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A smile from Poland

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Shouting or silence?  Great Patrick Street.  Paddy McCann installation.

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Tamar Walk wrapped.  C.S. Lewis.

Julie                                                      Anon

 

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Clonard

Eileen in disguise

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Friar’s Graveyard Belfast

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All Souls Belfast

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Riddel’s Warehouse Belfast

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Please check all rooms are unoccupied and switch off all appliances and lights removing plugs from sockets and ensuring all doors are closed and locked where appropriate.  Thank you for your attention.

 

John Graham

28 September 2017

Belfast

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Mayweather v McGregor : A Fight Review


The Fight Plan

It’s easy in hindsight to be an ‘aftertimer’ as Steve Bunce has as go to cliche for knowing everything after the event. We all have summoned the perfect recall of told you so type reflection. In fact it’s all part of analysis and is the comparative gauge we need use in everything. Some go overboard and embellish what they actually said and a story gains credibility the more often and repetitively it is spoken in so many different quarters.

From the beginning of the Mayweather McGregor fight being made uniting in a the bigger sports terms the MMA/UFC fighter Conor with a Boxing legend and multiple weight undefeated athlete Floyd both had a job to do to convince this match was worth spending money on to view. The show had begun.  


Hype 

By fight night the gap in the probability of McGregor pulling of his conceived showdown the business was done and the actual delivery of the match as a believable contest was set. People bought into it from every walk of life to fill the T-Mobile Arena and the TV revenues for pay per view had locked in an exchange of money which had multiples of contractual layers on the fighters side of the equation. They make the fight and they called the shots.  

Las Vegas Business
Seeing is believing in Las Vegas and the city of illusion was on full beam. Lighter gloves than permissible under rules, McGregor weighed in at 153lb and Mayweather at 146lb so both were close to the super Walter weight division and the age difference went 29 v 40. McGregor in the final few days called his opponent as in ‘no shape – blown out’. This to an athlete whose regime and self discipline over his two years out of the ring saw him shape up as dit as a boxer need be for a bout which could see him hospitalised if he was not fit.  
For ten rounds the fixation of a contest was the make believe made believable. The unforeseen; by legions of commentators up to and during the hype, unfolded. The attack of McGregor revealed his coaching and allied to his training which includes fist fighting, had prepared him well. He knew the raggedy UFC rules were out and both fighters had to abide to Queensbury rules. Despite this and ignored for the best part by the referee foul play was apparent in the small part theatrical of McGregor getting behind, literally and of his opponent complaining and using his forearm as a defense tool. The referee admonished the good bad guy. Mayweather. The cocky McGregor was the people’s man and he needed protected as the innocent in this against the prevailing expectations. All good so far.

Taking care of Business

Entertainment of a different kind was in view. Here was a cross discipline fight and the fighters delivered. Now you know the result, now you know the duration, and now the adrenaline has left satiating your and their escape calves we can look back on it in the Buncie way, as after timers for that is what every commentator is. What did you expect to see and what did you see? the questions alongside are will you even be bothered to frame an opinion of it in boxing terms?

Plainly many have cashed in their payment mentally and moved on. They got their value what else is their.


How did you read it?

Plenty is up for discussion. Where to for both the ‘disciplines’ now this fight was made and on all terms with everyone walking away a winner except the ill struck wagers of many heaping it on McGregor? This is a new entertainment and anything could happen. The reverse is unlikely to happen where two at the top of their game get in the Octagon and square off. Now is the time for looking back at what you saw and what it actually comprised.

The combat for me was a highly restrained but highly physical set of exchanges which went according to the agreed plan. The plan of Mayweather, which he described afterwards was part truth, ‘it went to my gameplan’ with him saying it was in his plan to let McGregor box himself out early and step in a 25mins and finish it off. There is no doubt that is what happened. What l have a distaste for is the fact it was strung out as a supposed contest up to the ‘value’ tenth round and within the distance. Up to the point where all woul go away satisfied. Mayweather on top within the distance and the victor as befits his power, defence and punching. It would become thecclosing of a legend All of Fame carrier with 50 ‘belt’ victories after his Olympic debut as a youngster when he got a bronze. If both were on the same gameplay or not is open to debate. 

Neutral Corner
The Mayweather we saw was invincible. That is what he is. At forty years of age he has the brutal strength to maintain his skills and his control of how mentally fights unfold. He dictates. It could have been over in the first round had he wished it to. It could have been over in the third had he wished it to. What we witnessed was a sham fight with it inevitably coming down to the blitz which saw the referee step in and declare it over. What we did not see was a defense from McGregor. He hadn’t got one then and earlier it would have been some flailing and hopeful shots against a barrage from a boxer who knows the difference between an uppercut and a jab and when the combinations should come and where they were to be delivered.  


Polished theatre 

There is no reason other than showbiz as to why this did not happen. It would have been and gone in an instant had this mismatch, which all, or basically all the professional commentators called it right up to the deadline. Hindsight is a wonderful thing but so is stepping back and taking a good look at the bigger picture. The punters got what they wanted. The uncertainty of sport to deliver beyond their wildest dreams or on the threshold of the dream. As it unfolded it was clear Mayweather could have chosen exactly when to step in as he did in the tenth round and deliver that unstoppable action. Anytime not Showtime. McGregor is safely in his corner as the protagonist who will fight another day but will anyone realise they witnessed a framed mismatch which was formed on a carefully arranged gameplan and that what they say was a debacle for as many millions to be had as rope a dopes?

John Graham

28 August 2017

Belfast

This is purely an opinion and has not any basis on which it can be put forward as having any thrush. It is supposition and only an alternate discussion point.
A review of films to return again quickly with Farthest next up.

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My life as a Courgette : A Film Review 

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My life as a Courgette  Duration 1hr 6mins  Rating PG

Directed by Claude Barras, Produced by Armelle Glorennec, Éric Jacquot, Marc Bonny.  Screenplay by Céline Sciamma, Claude Barras, Germano Zullo, Morgan Navarro.  Book. Based on Autobiographie d’une Courgette by Gilles Paris, Music by Sophie Hunger, Edited by Valentin Rotelli, Distributed by Gebeka Films, Duration. 66 minutes. Country. Switzerland, France, Language French with English sub-titles.

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Scenario

Adapted from the Gilles Paris YA novel by France’s youth friendly screenwriter, Celine Sciamma (“Tomboy,” “Girlhood”), Swiss director Claude Barras’ “My Life as a Courgette” shows how life for a young child removed from a family setting, is challenged while he forges his identity as he moves into in a Children’s Carehome home.  His name is a means of ensuring singularity and the writer skillfully deploys this stop animation film as a quasi scoping out of systems of care while making it a benign film suitable and not too troublingbone would hope and so far it’s is borne out, for young children themselves.  There is a dry direct biological sense of humor which goes beyond the nasty smelly forty traits and is partly uses sexual references.  Whether kids not in a French language course get the subtitles they may find it difficult catching up the adults who are skilled at joining visuals and sub-titles up instantly as a by product of seeing good well written art house movies which this is and which delivers its humour with colourful rapid firepower.

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Stop motion identity

Life as an animated Swiss boy is in the hands of many people.  Identity is for others to manipulate and guide.  Courgette has to be flexible and obey the stop motion process to do what is willed.  Tedious as that may seem Courgette manages to escape his mentors and creators to an imagined inner sanctum which hadn’t started too well.  Firstly as a lone child without domestic comforts in an attic we see the colours of Courgette’s world in the sketches and crafts scattered around his loft bedroom. From it is the view of a large town which he explores with his kite.  A Spider-Man character drawn on one side which he submits to his conscious as his lost father.  We hear from below a loud television in the act of transmitting daily dramatic arguments in the form of a dialogue his mother Madame Courgette is transfixed by with the contributing factor of vast quantity of tiniest which are discarded and strewn all over the floor which Courgette observes with a resigned detachment.

Madame Courgette is partially responsible for her own downfall from this point onwards as the scene is set for Courgette moving out and on to a more pleasant stop motion activity involving children of his own age, around 11, and in a pleasing outskirts of town even countrified environment of a detached children’s home.  Before he gets there we meet the paper filling Monsieur Raymond a Gendarme whose function is to oversee the placement into care of this little lost boy.  Monsieur Gendarme becomes attached to the story as an evuncular near retirement policemen which the stop motion life has assigned a slightly disjointed French gendarme type nose, long and typically Gallic-ly thin whose own circumstances relate in a way to Courgettes whose name by the way is of his own invention.  His identity is what is the mast and sailing device needed to navigate the stop motion world and life.  His guide can be his imagination which we see his personality hidden yet emerging as highly coloured under the baggage of this domestic altering life. He comes over as constricted optimistic creative kind with doubts filling many of the junctions he is asked to traverse.  No male guide in the form of a moral compass or initiator open to adventure, no maternal loving parenting or emotional regulator nor any sign of a mind being educated exceptbthrough his own ingenuity.

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Parental Breakdown

Cleverly the circumstances of domestic life are thrown up in the air (literally in a way) and this begins a new adventure which Monsieur Gendarme take him into past the high rise estates, the motorway connections onto open country along the rolling quieter rural idyll which even enables Monsieur Gendarme to relax into his self adopted role. Sturdy an assured in purpose they arrive at a large attractive detached house to be greeted by two staff members and at various windows inquisitive children.  The matronly Madame Principle (have to continue with this means of naming them as it is not in the directors mind to ‘label’ them Raymond excepted, and I presume it must derive from his upbringing as say being know to his friends as Bean or such like.  Then he became a runner for a film crew etc.  for which the this film listing has about 15!) has a large topped hair tower and round Corbusier glasses which apply her short sightedness over onto a Courgette in a Breton black matronly way.  She is formidablé though confident enough in her complexity not to be overbearing and with Rose, a name escapes beneath the allusion, is a young teacher and nurse, cleaner, cook, gardener, general ‘factotum’ whose task it is to do as Nadame asks and without fuss or even being visible.  This is a stop motion circumstance the flexibility of Courgette is well able to handle as his assertive side comes out particularly concerning his name.  Odd as it is it is not to be found elsewhere except the variations across languages give it another more exotic calling as nom de plume, Plum, people have been named even Pip.

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Play time

The new surroundings are populated by a rag-tag of children placed there through no fault of their own from backgrounds of immigration, child abuse, orphaned, drug addition with a company of teachers, attendants whose care is essential to their settlement.  The narrative is one not normally travelled and it is what gives the film a pvery strong story.  Courgette is in a strange environment and shares his dormitory with the other boys and the assertive Simon who is the self appointed leader guide and spokesman being a well developed foil and thought provoking element.  Simon is troubled himself and reacts by being defensive and assertive.  Form early on we see the different personalities around the meal times and playtimes.  The young male teacher with the job of educating them is a lively active kind with an amourous relationship with Rose and together they arrange a trip to the Alps and a ski- resort.  Being a fashionable retreat the kids onl have initially sleighs and the odd set of skis to play with and there is a contrast of class in some interactions.

Another clever detail.  Every Ski-resort has its Apres ski and here Courgette and his pals have a good time in the multi-coloured disco ball atmosphere of the cabin.  Earlier this week while listening to the Radio Ulster duo of – cruel as it happens but I’ll label them! – Smashy and Nicey – Stuart and Rigsy revel in the new radio studio all bells and whistles with 21st century controls.  So when a track starts in the semi gloom the lights dim further and Rigsy can barely control his excitement as a green blob spiralls and decorates all the walls of the space age domain.  Child like frenzy is happening man especially we’re music and disco lights are concerned.  It is one of many delightful carefully segued scenes and the story takes on more characters including Courgettes close love interest, the shy Camille.  Camille is a helper and observes others traits and vulnerabilities while not attending to her own.  Her Aunt arrives on the scene commando style Camille seeks assistance in trying to avoid being taken away from this place of comfort and refugee.

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All the kids have found a place of safety and enjoy the way things open up to them.  Things aalways change and the writer makes concessions to this by placing favourable developments to counter the other less savoury elements, not that they are overplayed in either event.  The world has set them numerous problems and this story is a neat compact telling of the formative years while dealing the smarts on rearing children without harming their future.  They have at the same time to loose the baggage other children do not have which not to bear.  It is a very intelligent and sympathetic film touching in its confronting difficult issues, seldom tacked in film and animated to a level which is infectiously enjoyable.  You may know what a Courgette looks like. Look out for the other oddity veggies, L’Artichoke, L’Aubergine.   The attention to detail is fun and plentiful.

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Conclusion ####4

Running for only 66mins this is nevertheless a fully formed piece not lacking in pace, message, interesting characters, sympathetic and emotional moments dealt with a carefully script.  There is a mad American overdubbed edition which while it helps children keep up with the jokes and continual wordplay, at times involving sexual references in Gallic flavored morsels.  It is essentially a universal story but it Gods up extremely well in the Foreign/Native language version subtitled in the U.K.  Be careful which one you arrange to see as both versions are being screened by Quens Film Theatre and on General release there will also be choices.  Children are very adaptable to cartoon driven and adopt favourites depending on their own personality.  The Ghilbi Animations are pure gold and carry lots of layers often found compelling to adputs in their literacy also.  This is not a vexing or very deep message but is full of good outcomes and peppered with lots of vibrant beautifully visual content which will see the hour and a bit pass without you know it and oddly thinking that it was longervsuch is its immersive connective joy.

John Graham

2 June 2017

Belfast

on at Queens Film Theatre Belfast from 2 June 2017 through to and including 8 June 2017 and on general release.

Frantz : A Film Review

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Dir: François Ozon; Starring: Paula Beer, Pierre Niney, Ernst Stötzner, Marie Gruber, Anton von Lucke, Cyrielle Clair. 12A cert, 114 mins.

Setting of Post World War 1

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The opening passage of François Ozon’s elegant interwar romance invites us to second-guess the story that links Parisian musician Adrien Rivoire (Pierre Niney) to Anna’s late love, Frantz. Frantz is Anton von Lucke.

A melancholic period drama, Frantz, is an elegant reimagining of the story behind Ernst Lubitsch’s undersung 1932 drama Broken Lullaby.  It is Post World War One in a central German hillside town called Quedlinburg which is a UNESCO protected location.  It is the backdrop to the family home of the Hoffmeisters whose son Frantz was killed in action on French soil.  The elderly parents remain,  Doctor Hans and Mrs Magda Hoffmeister (Ernst Stötzner and Marie Gruber) are in the middle of the town and still Hans practices as a Doctor.  They have provided a roof over the head of Franzt’s intended bride whose daily visit to the grave erected in the hilltop cemetery is her place of comfort and the families only memorial.
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Complex emotive story

This is a deeply sad and complex war story told exquisitely by the twin hands of the principles, Anna (Paula Beer) and Adrien Rivoire (Pierre Niney) alongside a strong supporting cast.  The town Quedlinburg is a lost empty place without the middle aged and young men it has given to the war.  In one scene in the Hotel, Tavern, which is the centre of town life in some respects, it is notable when Doctor Hoffmeister goes along to a meeting of the menfolk, how with only one year having passed and pain, grief an anguish are all palpable and hurt is within the very bodies of the survivors.  Those with whom some responsibility lies in sending their young offspring to war.  This hurt regret, remorse, redress, reflection, is not a redemptive theme explored by the very masterful direction of François Ozon but one of conscious.  Retaining your sense of self and direction is troubling for everyone. Ozon’s past films are absorbing emotional spirited in theme as were, the sensuous Swimming Pool and Jeune & Jolie, with soon to be unveiled, Double Lover marking a return to those emotive personal tales after this more constrained and brilliantly balanced story of the melt within Europe over borders you cannot see in the Isra she shoots across the view from Quedlinburg.  At a height of thought also, he takes this story markedly into a melting pot of ideas and that it took place almost 100 years ago it’s a vision and offering for our own times.

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Anna and Adrien.

Centrally Anna and Adrien are brought together in this aftermath.  This is a summary position of dealing which their individual pasts.  The footsteps are first taken as we see Anna, after an opening shot of a hot simmering country wide view in one frame in colour, then into black and white of Anna buying flowers at he market stalls of Quedlinburg.  The streets rise to the cemetery through ancient narrow cobbles, up a steep set of steps to the open plain of the graveyard.  It is drenched in bright sunshine and François Ozon begins painting frames as an artist does with the drooping darkness of heavy topped trees branches shading parts of the graveyard and it’s random pattern of stones laid in rough rows seem to lend a peace and sense of ease as the order is lost and not heightened as was the third Reich.  This has a poignancy exacting of the sense of place, its genus loci being this infringement between the living and the dead in memories.

The compelling question from the outset is – Why is Adrien leaving flowers on the grave of a German soldier, Frantz?  With a sweep of a leafbrush the graveyard attendant imparts his identity as that f aFrenchman who is staying in the aforesaid Hotel.  The connections have to be pursued and it is the object of both to reach a point where they can talk.
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Skip comparative reviews.

There is a school of thought which I deplore, in some reviewers making connections – as they have done with this in respect of Vertigo, –  the displaced person in a love triangle, – of the other, a Hitchcock rumination akin to Rebecca – which in this film are totally useless. That viewpoint actually labours the point to actually attune it more to this misread being the theme of the film in scores.  The film is enfused with hidden truths, conceits, contrivances made to ease the pain and harm of things past. It is even seen by one as being like the work of another director preposterously so. Being unlike Ozon is very Ozon. It is in fact gloriously rendered which makes any pathetic correlation a nonsense.  The film stands alone as an art piece and while the artist, director have long connections through their own process of becoming directors themselves it is not a place to put those connections to the fore as ‘influences’, that is a tedious comparison.  This artwork speaks for itself.  …. One review has discovered it is nothing whatsoever led by the fore said but still posits …    (although his influence on the final film is undeniable).  As if this should or would have any relevance to a viewer allowing the piece to tell its own story.  Superbly.
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Anna’s horrible dilemma.

The perils of Anna whose life is in limbo, a short time after the war, is polemic.  Her past life and proposed future is totally conflicted by the grief she shares with Doctor and Mrs Hoffmeister.  The performance of Paula Beer is a colossal depiction of grief internally residual.  She holds her grief intact and in so doing is asking questions of herself, throughout the first, second and third acts as she deals with new developments and disclosures.  She, in so doing, makes herself vulnerable and inconsolable at times, internally so.  When she meets with Adrien after observing him from a distance at the cemetery, she is both shaken by his perceived closeness to her lost fiancé.  In seeking answers she also is caught in a despairing, unrelenting story of loss with no parties able to reach out to the truth.  Adrien is adroit at making things appear plausible and acceptable.  He is handsome, has an angular tautness, is eloquent, thoughtful, possibly well educated man.  Perhaps too thoughtful and naive in the possibilities that might arise from his actions.  He is brought into the family home and with that deepens his lachrymose impediment, his imbedded grief, disabling him to points of disclosure, as the hurt would be unbearable.  Seeing them is a barrier to telling what he knows in full, with their openness and hospitality having been satiated by Anna in advance making this dramatic encounter when it eventually is arranged profoundly heartfelt.  What lies beneath this surface is not known nor will it be shared for sometime if at all.  This is the magnificence of the story telling, unfolding in aching timbre emoted visually touching through the actors prearadness softly set out in slow framed consciousness.  The cinematography has a slight taint to it in that it uses cascade at times out of synch with the unfolding piece.  For instance the changes from black and white to colour, the cascade, are intended to visualise the positive and warmth in relations iincrementally developing.  Yet it sometimes remains in black and white while that positivity is surging.  There are flashbacks to scenes described between Anna and Adrien of Frantz in the prior period.  That advances War scenes in colour and disharmony on the part of the rhetoric.  It could have been the intention to depict falsehoods in colour but that is neither the case.

Station to station

The belle indifférence with the previous pre-war world is seen in the French sequences of Paris seen as a repairing regrenerating counterpoint to Germany with strolling through the Louvre.  Looking at Manets The Bathers with beneath it, Le Suicide.  The Parisienne fortunes appear secure until late we visit the city and see its invalided body shattered and barely functional.  Losses are in the second half now relater back to the French mirror image with raw torn hearts spilling with their own grief.  The lack of manpower to rebuild also is evident.  The Cafe Belle Époque of the prewar years have vanished as if they never existed.  These times in France are frequently visited as in Therese Discomany, the Francóis Maurice love story or romance and in England it spurred Hillaire Belloc to read into the French and German dilemma such things as were prescient as his boook simply called The Jews reflects.   The era is a classic place of adjustment on the continent.  The borders of the Versailles Treaty escaping the paper constructs of power brokerage and envisioning some relenting peace are to determine so many revisions and the place of starting over.  Such memories of that war were psychologically damaged stubbing for the human beings that survived and were born into it.  This is a point well travelled by François Ozon.  The tributes to people lie everywhere you step.  The consoling and consoled.  The embittered and the vengeful.  The hardened and positive, negative deniers.  The words of the script are beautifully sharp and breathing every btreath allowing the characters to deeply affect you.  There are no persons within it who are trivialised by being seen as perpetrators, or being the enemy.  Far from it the sensitivities are enlarger by the resort to poetry as in the Verlaine poem recited at one point and the rendition in a public place of La Marseillaise. Discomforting in its – subtitled English excentuates the folly of some heroic words – presence there, right in the time.  The immovable shape of the form of war.
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Conclusion ####4

The film of the year so far for me.  Frantz is a lesson for modern living.  The exploration of the psychological depths people go to to either convince themselves of a truth or naively embark on consuming someone else’s apparent truth are startlingly effective. It is a sad and remorselessly engaging heroic film.  Anna is a flawed heroine as indeed despite his misreading of the reasoning he puts to things, is also an essentially flawed person with a ruined perspective of life brought on undoubtedly by war.  The thought is inescapable as the war poetry of many follows in this malaise of mind tyranny in order to cope and construct something at terms with the present.  Writers like Michel Houllebecq make the morose sexual eaae methods deployed in and out of war a frequent tap root of sorrow. The novel in its 20th century incarnations after Stoker, Shelley, Balzac, Dickens have given literature many versions of the nation and the use of borders as an identity rising as a continual denier of the universal truth of equality before God.  

John Graham
17 May 2017
Belfast

On from this Friday 19 May until and including Thursday 25 May 2017

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Raw : A Film Review


Raw 

Director Julia Ducournau Writer Julia Ducournau Stars Garance Marillier, Ella Rumpf, Rabah Nait Oufella, Laurent Lucas, Joana Preiss, Bouli Lanners, Marion Vernoux.
Jean-Louis Sbille as the professor  Rating 18. Duration 1h 39m Genres Drama, Horror.


Probing the flesh

Raw is War in tooth and claw.  Red is cinemas greatest asset in showing in glorious technicolor our raw emotions that inhabit our conscious.  From the premise that within us is a primordial guilt and we seek revenge for the ills of our ancient past back to the dawn of existence we have been fascinated with the bloodlust of others and sometimes ourselves.  The driven kind features heavily and their appetite is satiated in a campus of post-revolutionary Europe.  In a University campus that of L’Universite de Liege, filmed over one summer, writer, Director, Julia Ducournau, in her debut feature film sees humans in a structure of hierarchy.  Garance Marillier playing Justine is dropped of by her affluent parents in a sprawling University campus.  They are past students of the same place and are perhaps aware of what lies ahead in more senses than we are initially lead to believe.   I couldn’t help thinking if they were in part authors or this rite of passage, being from the output from ’68, for their virginal daughter.  In a horrific incestuousness leading all back to the beginning.  Already at the University is sister Alexia (Ella Rumpf) a year ahead.


Journey to self

At the opening frames which we go back to later there is a similar opening to many films.  A open large perspective of a rural connection of a tree lined road seen anywhere in Europe.  There occurs an unexplained event. Cut to the car wth the dog lapping the cheeks of the open eyed Justine whose move from childhood to adulthood is officially stamped.  No longer at home she is on an adventure called life.  This is an enclosed tale of rule making and conformity layered with the very present hormonal discharges of Justines sexuality.  Into this is added the self image and her beliefs which are more or less intact.  As a vegetarian she is setting herself out as having a love of animals which is taken to the point of her enrollment and the family belonging to an ethic of helping all creatures on this earth.

In this environment it is easy to see the disgust of meat eating and it is but not questioned here, a method of exploring whether we are indeed carnivores or as the ancient history will tell us after the ‘original’ sin we became sinful in killing and eating animals.  The proteins of other sources being accommodated only by locational advantage.  The China Study is a book which shows us how to remove meat as a protein source and also shows us how location, China can support a food structure in balance while others hunt and fish plainly because they have an abundance of wild animals, rivers, forests in which flight is not sufficient to save birds, nor speed a reason to escape an arrow.  The Masai will eat from nomadic cattle by slicing off a piece of hind while they walk, covering the wound with mud and eating it raw.  Their choice is confined to an existence without much plant growth.  So how is it God our creator has it in mind meat is a legitimate source of our diet.


Outside life

Justine is confronted by the meat eating fraternity without the family protection.  As a set up we see the family enroute at a roadside cafeteria and out of her ‘veggie’ choice – her parents have moved onto meat eating – probably by obliging the instincts to masticate on flesh cooked into unchained protein as a demonstration of the common predication for eating meat.  In the school of Veterinary Studies there is a ritual and it is a basic condensing of human rules and conformity writ large.  In it the Upper year students in the Dead of Night ambush the entire intake and involve them in a series of initiation subjections which are both a release and an imprisonment.  Mindsare pliable and Alex, Justines sister is already into the camp of the meat eater.  This is despite her own beliefs and she suppresses what Justine still holds as a basic right to decide what she puts inside her body.  

The initiation I won’t describe as too many writers on this film have drawn out all the little details which make it a full on exploration of human instincts.  First time Director at 33 when she made it (at some critics take a youthful age apparently though it is not an age thing, directing chops!) is giving this story an arch violently expressive with some tremendous scenes setting out with accomplished subtlety at times – in the Student clinic for instance there is a great piece of observational writing, then there is the location itself with its optimistic, bunker like, confrontational raw materials of architecture, stubborn forms plain and as the film afore mentioned – ‘What you see is what you get’.  Julia Ducournau has this locked down into Form follows function in excruciating bodily functional detail.  In Train to Busan which is a brilliant zombie movie from a South Korea from last year I took it on to seek more references to the human condition which explored along very similar lines what were its driving forces.  I found it to be the backward launch of the human, back through their mothers, birth a journey to ancient loss.  That read is found by putting into the top right –  search box – Train to Busan. http://wp.me/p2R05n-Hh


Sexual appetite

There are scenes which see Justines sexuality spawn a million seeds.  The male leads in the film are similarly stuck by the new circumstances they find themselves in and their preconceptions are not so much challenged as replaced by alternatives.  Love stories, strange as it may seem develop.  Within this – it is not – mash up – there are several failed relationships and new ones. All concerned with orgasm lust which draws into the equation love and ritualized belongin, hurt and betrayal.  This is another strand not obvious at first but it’s very much there.  From what I’ve so far implied and set out strands of story direction I’ve gotten onboard with the liking community for this film.  At times it will irritate the chops off you, make you cringe at the banality of some use of others tried and rested cinema scoping – the entry frames are so often followed it is tedious to see them range into view again.  I won’t name them but I do have favorites of this intro and they are totally memorable putting this so far below in the lower deck it’s below the plimsol line. Annoying.  There are other beautiful scenes held flowingly with one or two faults, camera hungry playacting, like in the first dance/techno sequence.  The music is by Williams, (son of John?) and it once becomes too much as it is used to ratchet up a particular moment.  It could have blurred out sound or disfunctional sound but it chose the conformity.


Progression towards …. 

The story develops over one year at University and takes on a form utilizing the group without elder supervision other than a few Professorial types who are strangely not equipped or bothered to set anything other than experiments and pick up on grammatical error while also giving Justine further concerns about her outstanding alacrity, skills, understanding of veterinary techniques.  Unlike her  fellow rookies who begin to detest her or at least some of them.  Alex and Justine become strongly connected and share similar demons.  They get into extreme bother and trouble, inviting the entire college to come down on them in their interactions with them.  It keeps ramping up in its violence and portray of the communal internalization while setting out no answers or analysis of the behavior.  Critics so far have placed it in boxes to suit their view and none inclauding myself were able to fix it in a frame of mutual understanding.

 Doctors daughter Julia Ducournau!

Conclusion ****4

Julia Ducournau has composed an odyssey through a young woman’s journey from childhood to adult and survival.  She has used a very able crew and set of young actors who fail nowhere in convincing us of the, beyond recognition, behaviors they portray while putting more than many young actors should in order to be faithful to the task.  The experience must itself been ground breaking on the minds of these young people and Julia Ducournau has probably learnt through it of the many potential pitfalls and erroneous steps, some life changing that enter people’s lives.  The ground breaking element nearly stretches it out to become a genre free film though it is not long enough or dig into the medical, psychological straits of the human pathway.  It is gloriously rich in detail, too much in many people’s minds and plays the willfulness and inevitable harm inflicted mentally on the sisters as in faith.  Julia Ducournau holds the characters hands throughout without being exploitative.  It crosses many lines but being Cinema it’s not a dilemma for anyone. Of course there is revulsion and sickening components but that’s Cinema story telling unleashed with a courageously minded group.

John Graham

27 April 2017

Belfast

 

  

On at Queens Film Theatre from Friday 28 April 2017 and on general release.