light gazing, ışığa bakmak

Tuesday, June 9, 2009

A Promessa de Luc e Jean-Pierre Dardenne

não são filmes como a Promessa de Luc e de Jean-Pierre Dardenne que vão disputar seja o que for no campo de batalha entretenimento Europa-América. um filme cruel e realista que expõe as feridas que queremos não ver. assumidamente mais próximo do documentário, mas ainda assim ficção, este filme não quer atrair, ser bonito, ser estético pela estética. o modo de filmar é crus e mais perto do real, filma-se cronologicamente, não há banda sonora, sempre que possível a luz do dia tal como é, a Bélgica industrial de Liège, terra de origem dos realizadores. 

"The Dardennes archieved their first major success with La promesse (The Promise) in 1996. The film is the story of Roger, who operates a tenement that he rents out to immigrant workers with the help of his fifteen year old son Igor. When Hamidou, a laborer from Burkina Faso, dies (as a direct result of Roger’s unscrupulousness), Igor takes responsibility for Hamidou’s wife and baby. The film, in the words of one critic, “shows us the birth of a consciousness,” and its setting – a Western Europe full of entrepreneurs desperate to grab their share of a quickening economy, and foreign laborers even more desperate to taste a small piece of that – is both grim and hopeful. The opportunities the film presents may be more spiritual than material, but this is in keeping with the hardscrabble reality of the Dardennes’ films. In his review of La promesse Stanley Kauffmann noted that, “The Dardenne brothers… have confessed to a burden. They believe in hope. They insist that under the frenzy of our world, physical and moral, there is quiet.” (daqui)

"In this acclaimed and gripping social portrait of immoral lives in need of rescue, Igor (Jérémie Renier), aged 15, and his father Roger (Olivier Gourmet) deal in housing and peddling illicit labor in the outlying districts of Liege, Belgium. Scams, lies and swindling rule their lives. When one of his father’s illegal workers gets injured on the job and asks Igor to promise to take care of his wife and baby, Igor finds himself at a crossroad. He wants to keep the promise, but the price would be to betray his father. Directed with startling realism by award winning filmmakers Jean-Pierre and Luc Dardenne, who remarkably won two Palm d’Ors at the Cannes film festival, one for Rosetta and one for L’Enfant, which also stars Renier."

excelente texto:
"“How can you be guiltier than anyone in the eyes of all? There are murderers and brigands. What crimes have you committed to blame yourself more than everyone else?”

“My dear mother, my deepest love, know that everyone is guilty in everyone’s eyes. I do not know how to explain it to you, but I feel that is so, and it torments me.”

Belgian filmmakers Luc and Jean-Pierre Dardenne cite the above exchange from Dostoyevsky’s The Brothers Karamazov as the genesis of La Promesse, their first feature to garner much attention in America. Marcel’s guilt and torment is played out onscreen in the person of Igor (Jérémie Rénier), the fifteen-year-old son of a slumlord who traffics in illegal immigrants. When one of their tenants dies in an accident, Igor is forced to confront the consequences of his and his father’s actions while fulfilling “the promise” he makes to the dying man: protecting the man’s wife and infant son becomes for Igor both a burden and a vehicle for possible redemption.

"La Promesse is a wonderful film whose beauty is born from the Dardennes’ suffusion of honesty and moral complexity into standard narrative conventions: the simple two-act structure, Igor’s bildungsroman, the basic quest for human connection. It came as little surprise when I learned that the Dardennes had worked in documentaries for two decades before moving to narrative films. While watching La Promesse I was reminded most often of Krzysztof Kieslowski and Bruno Dumont, filmmakers whose careers traveled similar trajectories. Like theirs, the Dardennes’ cinematic language is composed of simple observations, deliberately eschewing the conventions of classic continuity editing. I can’t think of a single instance of a shot/reverse-shot, for instance. Instead, the handheld camera lingers at a distance, sometimes peering over shoulders and only rarely moving in for a close-up (and even then only on Igor and Assita, the widow who becomes Igor’s maternal surrogate)." de Darren Hughes, todo aqui.

não penso que o fim seja tão enigmático assim. se bem que no final se deseje saber mais, o que vai acontecer agora, será que ela lhe perdoa, uma curiosidade pequenina. mas sabemos que a decisão de Igor foi tomada há muito tempo, sabemos que ele tem de lhe dizer a verdade, só não sabíamos quando e sabemos que Assita tem de ir enterrar o marido. o final estava decidido pela força do carácter de cada personagem. cada figura está de tal modo estruturada, tão solidamente, que sabemos como pensam, as suas acções são previsíveis.

"Shot in natural environment using cinema-verite styled camerawork, the jarring, visually unpolished appearance of the film reflects the raw, emotionally honest, and often disturbing examination of the dehumanizing plight of illegal immigrants, and a young man’s evolution towards compassion and acceptance of personal responsibility. As Igor hands over the keys to his beloved go-cart to a friend, he not only relinquishes the vestiges of his childhood, but also accepts the consequences of his culpability. Inevitably, it is this triumph of the conscience – the courage to show humanity in the face of intolerance and cruelty – that redeems his misguided life." (daqui)

talvez esta não tenha sido a melhor altura do mundo para eu ver este filme, ontem sobretudo, mas não julgo que a particularidade do momento tenha tido uma parte na imensa angústia que este filme causa, medo e ansiedade. está-se sempre no fio de uma navalha desconhecida, há uma sensação de perigo eminente e contínuo que torna o filme bastante claustrofóbico.

"Their favorite movies include Rossellini’s Germany, Year Zero, Fassbinder’s Ali: Fear Eats the Soul, Pialat’s L’enfance nue, Coppola’s The Conversation, Techine’s Thieves, Loach’s Kes, Scorsese’s Taxi Driver, Kieslowski’s The Decalogue, Straub-Huillet’s Not Reconciled, and Oshima’s Cruel Stories of Youth, and they also have kind words for Cassavetes, Kazan, Mizoguchi, and Pasolini." (daqui)

No comments: