Emotional Machines: the films of Bruno Dumont

16 02 2012
Bruno Dumont, Hadewijch film

'Hadewijch'

There’s a nice moment in Bruno Dumont’s hypnotic 2003 road movie Twentynine Palms when two weary travellers, an American photographer and his Russian girlfriend, are slobbing out in a California motel room. In a corner of the room, half-ignored, is a TV showing a series of abstract images; a camera panning slowly around the outside of a building at night, the scene lit by periodic flashes of neon. “What’s that?” the woman asks eventually in French, the only language that the lovers have in common. “I dunno”, he says. “An art movie I think.”

Dumont’s own films would, it’s fair to say, be located firmly within the ‘art movie’ bracket by most people. Over the last 15 years, the French director has ploughed a unique furrow in European cinema, with a series of films (La Vie de Jesus, L’Humanité, Flandres) that have sharply divided, and sometimes outraged, audiences and critics alike.

This week Dumont’s 2009 film Hadewijch appears in UK cinemas, more than a year after its release in France, the United States and other countries. It tells the story of Céline (Julie Sokolowski), a devout young woman who is expelled from a convent for her extreme devotional practices (fasting, exposing herself to the elements) and told to go out and experience the world before deciding to devote herself to God. Returning to Paris, and her wealthy parents, she soon befriends Yassine (Yassine Chikh), a young Muslim from an impoverished housing estate with leanings towards Islamic extremism. Céline, the virginal Christian extremist, becomes involved in Yassine’s Islamist world and eventually in his violent plans.

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