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Age restless

Bruno Dumont.
The name of a French director born in Bailleul, northern France, in 1958. The name of an author who can boast of having won two Grand Prix in his career numerically limited, something that had happened in the past only to Tarkovsky. The name, also a teacher of philosophy. But the name, above all, that will fill the columns of this blog in the coming months. After

due cortometraggi denominati rispettivamente Paris (1993) e Marie et Freddy (1994, opera che presumo abbia molto a che fare con questa avendo come titolo i nomi dei due protagonisti), Dumont esordisce sul grande schermo con La vie de Jésus (1997), pellicola ambientata nel piccolo paese natale che riprende lo scorrere quotidiano di un gruppo di ragazzini alle prese con la vita agra della provincia.
Quella di sondare il perturbante mondo dell’adolescenza problematica è un’operazione effettuata decine e decine di volte nel mondo di celluloide. Abbiamo visto giovini farne di ogni, farsi le mamme dei vicini ( Ken Park , 2002), e sfarsi spesso e volentieri di svariate sostanze stupefacenti. I ragazzi di Dumont, invece, sfuggono a questo identikit, o almeno ci provano: non si drogano, non bevono, non rubano, non commettono niente di così peccaminoso da poter entrare in un film di Clark o Araki, eppure la loro raffigurazione è egualmente, anzi, è molto più lesiva rispetto a quella dei parietà d’oltreoceano. E le motivazioni possono essere ricondotte a due riflessioni di sotto esposte.

BAILLEUL, LA PERIFERIA DEL MONDO

Il contesto in cui si svolge la storia è, come sottolineato, una cittadina situata nella regione Nord-Passo di Calais. In questa comunità sembra, ma sicuramente è così, che non ci sia niente di interessante. Una lunga street flanked by low buildings all the same, a bar, a cemetery, a square, there is nothing else. In such a picture of the teenage boys are five subjects to boredom, it becomes dominated the petty things and aims to materiality, it is important to work, Freddy is more than enough for the grant from orphan to go forward, is not important relationship, rather than suck the nectar of youth from the same age, and here the show almost pornographic sexual activity should not be seen as a clever bit of directing, but as a love highlighting immature, irresponsible, and the betrayal is not important in itself but rather the 'shame of being evicted from the pubis of the beloved Arabic from a greenhorn. And the outside world? Practically does not exist. Just go on TV images of war, of suffering, the films are there but they always start late and are not remember the title. Lille is a city so close and yet distant miles not traveled.
Bailleul is therefore a kind of fence that imprisons these five young men who had nothing around it, in turn, believe in nothing, have no hope, one of them, in fact, Jesus is only guy who is resurrected.

DUMONT, CINEMA CENTRE

But Dumont is auteur cinema. Although it is already at presentation shows a clear impression that wants to give intellectual depth history. It succeeds very well because unlike many teen film that link the visual impact / emotional cursed with some spectators, Dumont appears to this aesthetic vigor - indeed there are sex scenes, no use denying it - a job done metaphorical perspective of viewing angles that provide different but converging on one point: nihilism protean players who forge. Even before
Visually, the film offers a noise level parallel convincing. The reality of the group is marked by a constant sound discordant, scooters, they produce a steady hum and apparently unperturbed that only fills their days. The finch Freddy, giust'appunto not sing anything, even after the stress of his master, and also the tests with the band in the country are only opportunities thrown to the wind, moments to laugh at the fat group. There is no music, no art, in short, no life.
It will not escape the watchful eye of the village streets are completely deserted [1], you never see someone who travels, this reinforces the concept of isolation in which they have fallen all the young characters grappling with a solitary Way of the Cross made up of brothers died of AIDS, racism, epilepsy, cloudy sky and distant birds chirping. A

solito film sulla primavera della vita? Assolutamente no.
Un film diverso sulle pene della pubertà? Nì.
Un film che ad ogni modo merita la visione? Eccome.

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[1] È incredibile come il campo lungo della strada principale sia pressoché identico alla via-anticamera dell’ottimo Wild Side (2004) di Lifshitz. E, altra coincidenza, in entrambe le opere si registra la presenza di Yasmine Belmadi, attore franco-algerino morto nel 2009 a causa di un incidente stradale.