Camille Claudel 1915

2013

Biography / Drama

87
IMDb Rating 6.5 10 2,908

Synopsis


Downloaded times
May 28, 2020

Director

Cast

Juliette Binoche as Anne Laurent
720p.BLU 1080p.BLU
871.9 MB
1280*720
French 2.0
NR
23.976 fps
95 min
P/S N/A / N/A
1.58 GB
1920×1080
French 2.0
NR
23.976 fps
95 min
P/S N/A / N/A

Movie Reviews

Reviewed by franked18 8 / 10 / 10

Uncomfortable but gratifying watch

I wanted to leave this screening about halfway through, but not because it was a terrible film. On the contrary, it was because Dumont's impeccably observed production evokes the same sense of claustrophobia experienced by its titular character, who is yearning for release from the asylum to which she had been committed by her family. For most of the film's duration, neither Camille nor the audience are entirely clear about why she was incarcerated, or at least, why she remains so. What little back story we are given is relayed principally by Camille herself, and in a manner that suggests more eccentricity than madness. I had not read up on Claudel prior to seeing this film, but having done so since, I absolutely endorse Dumont's rendering. The direction is unhurried and the dialogue minimal. Long takes abound, soundtracked by repetitive noises like echoing footsteps, the crunching of gravel, and, most disconcertingly, the infantile howling of the asylum's residents. The sense of place and aesthetic is intelligently realised, and for all its oppressive qualities, this film is a beautiful thing to look at. As Camille, Binoche shines like the genuine star she is - a genius artist playing a genius artist. The occasional closeup (and there are many) may reveal a composure running one or two shades too deep for this character, however whenever our heroine cracks, Binoche exemplifies her mastery at bridling and channeling female psychology. The other figure in the narrative equation - Camille's brother Paul - is played by Vincent in turns both tender and oblique. Thematically, Dumont does not preach, but tantalisingly throws juxtaposition after juxtaposition before us, inviting manifold readings. Rather than write a critical analysis here, it will suffice to say that there is much to be gleaned from this film, notwithstanding biography. 8.5/10

Reviewed by howard.schumann 9 / 10 / 10

Juliet Binoche delivers a masterful performance

Nominated for the Golden Bear at Berlin, Camille Claudel, 1915, the latest film by French auteur Bruno Dumont, is arguably his best realized and most accessible work since La Vie de Jesus and L'humanité in the late 1990s. Juliet Binoche delivers a masterful performance as sculptor and graphic artist Camille Claudel, mistress of Auguste Rodin, who was confined to an asylum at Montdevergues near Avignon in 1914 after an emotional collapse. Derived from Camille's medical records and private letters to her brother, poet and staunch Catholic Paul Claudel (Jean-Luc Vincent), the film takes place over a period of three days in the asylum where we experience the oppressive nature of Camille's routines, lightened only by the inmates attempt at performing the play Don Juan. Although Dumont uses mentally-disabled patients and their nurses as actors, there is no hint of exploitation and they are only used to draw a sharp contrast between Camille and the seriously ill. Considered to be a great but unrecognized feminist artist (usually only discussed in relation to Rodin), Camille is filled with despair and depression at her confinement but looks forward with anticipation to the impending visit from Paul. Though much of the film has a strong impact, the sequences in which Camille pleads with her doctor (Robert Leroy) and with Paul for her release reach the heights of Dumont's consummate artistry. In spite of the fact, however, that the head doctor feels she could be re-integrated into society, her mother and self-absorbed brother ignore her pleas and refuse to relinquish their tight control. Though Camille's paranoia is evident in these scenes (she insists on preparing her own food for fear of being poisoned), the power of Ms. Binoche's performance allows Camille's intelligence and true stature as an artist to shine through. Austere and unforgiving in the mold of Alain Cavalier's Therese, Camille Claudel, 1915 can be compared to the films of Robert Bresson in its long silences, spiritual depth, and uncompromising integrity. Viewing can be a harrowing and uncomfortable experience, but the same can also be said about many great works of art.

Reviewed by paulcreeden 9 / 10 / 10

The boredom of insanity.

My high respect for Juliette Binoche's technique and talent has been bolstered by watching her performance as Camille Claudel in this film. The film itself presents a stunning vision of mental illness and its treatment in the age prior to advanced psychotropic drugs. I am a registered nurse and worked for ten years with very symptomatic psychiatric patients in hospital. Ms. Binoche's subtle performance captures the painful boredom of confinement, both physical and mental. Confined mentally by her anxiety and paranoia, Camille is sealed off from satisfying human contact with the sane, while being tortured by the attentions and needs of those more disabled than herself. The well-meant attempts of nuns to engage her with those whom she fears come across as nearly sadistic. This subtlety marks the film as exceptional in my opinion. The appearance of the religiously fanatic and equally disturbed brother, Paul Claudel, who functions as her jailer, adds a feminist sensitivity to the film. Camille's powerlessness is largely feminine in her sexist world. The interplay between religion and confinement, physical and mental, is also brought to light through Paul Claudel's obsessive grandiosity as he converses with his god. Who are sane or insane? The depressed nuns? The grinning abbot? The pompously righteous brother? Camille hoping for release? No answers are given, in typically French fashion. But this film is well worth the time and reflection.

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