#35 Shots of Rum

[serpentinaz]

35 shots of Rum (2008) dir. Claire Denis

#35 rhums #35 shots of rum #claire denis #film screencaps

[chinchillasorchildren]

#35 shots of rum #35 rhums #claire denis #did everyone try the empty nest syndrome? #mati diop #alex descas

[blackfilmgaze]

Grégoire Colin and Mati Diop in 35 Shots of Rum (2008) dir. Claire Denis

#claire denis #35 shots of rum #film #film tumblr #gregoire colin #mati diop #blackfilmgaze #film stills

[animalsisawinmovies]

cat 🐈

from 35 shots of rum (2008)

dir. claire denis

Instagram Twitter Letterboxd

#cat #claire denis #35 rhums #35 shots of rum #cinema #film #animals

[japicidad]

#35mm flim #35mmdiary #35photo #35mm #35mm film #kodak 35mm #35mm camera #35mmstreetphotography #analog photography #film photography #filmisnotdead #35mmlens #35mm format #35mm venetian blinds #35 mm photography #35 mm color film #35 mm camera #35 shots of rum #35 mm film #chile #playa #iquique #analogo #analogue

[annasfilmclub]

Denis has eliminated most of the expository material that would tie together the story in a conventional film, but we hardly miss it: the basic plotline—a dutiful daughter must learn to break away from her loving father, and find a life of her own—is familiar from countless Ozu films, and we hardly need to see it spelled out again. Instead, Denis moves her four characters into a choreographic abstraction of coming together and moving apart (most beautifully in a long scene set in a café, where the characters take refuge from a rainstorm when Gabrielle’s taxi breaks down on the way to a concert). As in a dance, gesture and movement subsume dialogue; we know what the characters are thinking and feeling through the ways they approach (and avoid) each other.

Dave Kehr, Film Comment, 35 Shots of Rum

Full review

#claire denis #film comment #35 shots of rum #35 rhums #2008

[faithconsumingcope]

random film/series quotes for valentine’s day from some of my faves

#eternal sunshine of the spotless mind #normal people #lost in translation #35 shots of rum #three colors: red #fallen angels #film girls #cinema #valentines day #film aesthetic #love quotes

[byneddiedingo]

Mati Diop and Alex Descas in 35 Shots of Rum (Claire Denis, 2008) Cast: Alex Descas, Mati Diop, Nicole Dogué, Grégoire Colin, Julieth Mars Toussaint, Adèle Ado, Jean-Christophe Folly, Ingrid Caven. Screenplay: Claire Denis, Jean-Pol Fargeau. Cinematography: Agnès Godard. Production design: Arnaud de Moleron. Film editing: Guy Lecorne. Music: Tindersticks. If I hadn't read that Claire Denis said that 35 Shots of Rum was inspired by Yasujiro Ozu's Late Spring (1949), I'm not certain I would have spotted it. But once I learned that fact, it became obvious. Both films are about widowers living with their daughters, and both end with the daughter's marriage and the father contemplating loneliness. I would have to rewatch Late Spring to cite other parallels, but the central fact is that both films share a bittersweet, melancholy tone. The fact that Lionel (Alex Desecas) and Jo (Mati Diop) are Black lingers as a subtext in the film, the way the devastation of Japan in the war lingers in the background of Ozu's films, surfacing in Denis's film when the anthropology class Jo attends begins to discuss postcolonialism, with references to the radicalism of Frantz Fanon and other writers. Mostly, however, we stay in the enclosed world of Lionel and Jo and their friends, Gabrielle (Nicole Dogué) and Noé (Grégoire Colin). One of the film's challenges (and delights) is that Denis plunges us into their world without exposition, leaving us to discover the relationships (and even the names) of the characters as the narrative unfolds. For a while at the start of the film, I took Lionel and Jo to be a married couple or lovers, so close is their relationship, until it became apparent that they were father and daughter. Even the title takes some time to work out its significance: It refers to a ritual drinking bout that's supposed to occur at important celebrations, and we first see it at the retirement party of René (Julieth Mars Toussaint), Lionel's fellow driver in the metropolitan Paris train system. Though Lionel gets fairly inebriated, he decides the occasion isn't important enough to consume all 35 shots of rum. Eventually, René is unable to cope with loneliness and lack of purpose after the mandatory retirement and kills himself on the train tracks where Lionel is driving. René's death adds poignancy to Lionel's facing life alone after Jo marries -- a wedding at which he does indeed go through with the 35 shots ritual. Denis's film is a subtle, moving delight, full of details that are enough to provoke extended contemplation or even a rewatching. Decas and Diop (who would go on to direct her own fine film, Atlantics, in 2019) give quietly extraordinary performances.

#35 Shots of Rum #Claire Denis #Mati Diop #Alex Descas

[neotaissong]

35 Shots of Rum (2008) dir. Claire Denis

#undeniable #claire denis #master teacher #movies

[elianajof]

35 shots of rum analysis

Something I really loved about "35 Shots of Rum" was the use of transportation throughout the film. Lionel is a train conductor so we see him in scenes in the tracks or on the train a lot of the time, but also the use of seeing all the characters in buses and cars. While transportation moves people from one place to another, it is clear that a lot of these characters feel stuck. In James S. Williams' "Romancing the Father in Claire Denis's 35 Shots of Rum", he writes about "the poetic images of passage and transience." I think this is clear in the scene where Lionel and Rene are sitting on the bus after Rene's retirement party. Rene is very depressed and says that he can't believe he still has so much life to live. It is clear that he feels stuck. But, he is on the bus, surrounded by people from his now former job, on the way home. It is a powerful juxtaposition to feel stuck when on a bus and also when you were once a train conductor - one could argue you could go anywhere. But, the use of the public transportation in this film is not to show how characters could go anywhere, but how even with accessibility to the outside world, they choose to stay where they are, comfortable. This is also portrayed when the four characters start driving and the storm starts: when they try to break out of that comfort, they are faced with the reality that they are meant to stay stagnant.

@theuncannyprofessoro

#oxyfilmidentity

[mikkadc]

Viewing Response 10: 35 Shots of Rum and Kwaku Ananse

“35 Shots of Rum” and “Kwaku Ananse” both examine the father/daughter relationship, and the roles that fathers play in the lives of their daughters. In “35 Shots of Rum”, Lionel has cared for Josephine all his life and is coming to terms with the fact that they will begin to lead separate lives. In “Kwaku Ananse”, Nyan seeks out her father in the spirit world to get answers. What stands out to me in both of these films is the symbolic moments of “handing off” that occur within both narratives. In “35 Shots of Rum”, this is when Lionel is dancing with Josephine and lets Noé step in to dance with her. In “Kwaku Ananse”, this is when Nyan’s father hands her the gourd, and the identity of Ananse. In both cases, Nyan and Josephine’s father are handed this chance to make their own decision and firmly establish their autonomy, with how “Lionel does not tell his daughter what to do, or allow anyone else to arrange her affairs” (Williams, 47) and how Nyan’s father allows her to go forward on her own with the gourd. In this way, both narratives display a crucial turning point in many family dynamics, where daughter and father separate and begin to lead their own lives.

#@theuncannyprofessoro #oxyfilmidentity

[abwwia]

Dahomey by Mati Diop, a documentary focusing on the 2021 return to the Republic of Benin of twenty-six royal artifacts stolen by French soldiers in the nineteenth century, has won the Berlin International Film Festival’s Golden Bear.

Read: artforum.com/news/documentary-on-repatriation-looted-benin-artworks-captures-top-honor-at-berlin-film-festival-550103/

Mati Diop (born 22 June 1982) is a French-Senegalese filmmaker and actress, most known for her role in the 2008 film 35 Shots of Rum, and niece of the prominent senegalese filmmaker Djibril Diop Mambéty.

At the 2019 Cannes Film Festival, her feature debut film Atlantics, for which she became the first African female director to be in contention for the Palme d'Or, won the Grand Prix (2nd place).

Her second feature, the documentary Dahomey, won the Golden Bear, at the 74th Berlin International Film Festival, the festival's top prize.Via Wikipedia

#MatiDiop poses with the #GoldenBear for Best Film at the 74th Berlin International Film Festival, February 24, 2024.Photo: Tobias Schwarz/AFP/Getty Images

#artforum #news #documentary #benin #artworks #berlinfilmfestival #Senegalese #french #Senegalesefrench #frenchfilmmaker #PalianShow #filmsbywomen #womenfilmdirectors #artbywomen #film #movie #filmherstory #cinematography

#Mati Diop #film #cinema #cinematography #Dahomey

[dreamgirliee]

Thursday, 10/8/23 ٭❀٭

═❀Stats:

Weight: 71.4kg

Water (goal: 11 cups): 8 cups

Fast: 37h!

Food:

Vanila protein pudding: 142 cal

Toast: 68 cal

Boiled eggs: 167cal

Dark chocolate: 35 cal

Malibu rum shot: 80 cal

Total: 492 cal

Burned (exercise): 132 cal (walking 3km)

════════❀

#an0r3c1a #ana dairy #ana meal #ana trigger #ed bllog #ed di3t #low cal restriction #notprojustusingthetags #pro a4a #tw edd #thinspø #mealspø #meal$p0 #low calorie #low cal food #mealspi #mealsp0

[mapimunoz]

35 Shots of Rum Response

35 Rhums is a 2009 film directed by Claire Denis. This is the kind of film where you have to look beyond what is said on screen to pick up on what is happening in the narrative. The story isn’t handed to you, it is shown and it’s up to you as the audience to make sure you pick up on it. Denis' use of symbolism is genius and powerful throughout the film. The scene where Josephine and her father are dancing in the bar after the car broke down was one of my favorite scenes in the film. It’s a long shot with no dialogue, everything that is communicated in that scene is through the actor’s motions. At first, Joséphine is dancing with her father, they are close together in an embrace, swaying to the music, enjoying each other's company. Then Noé steps into the frame and Josephine immediately looks up, feeling his presence, he did not need to announce himself or interrupt the dance. No words are exchanged, only a knowing smile with both Joséphine and Lionel. Lionel steps away with a smile and Joséphine and Noé start dancing together. The atmosphere of the scene shifts from an endearing father-daughter dance to the romantic/sexual tension between Joséphine and Noé. The shot momentarily switches from the couple to Lionel watching them. Noé starts to make physical advances on Joséphine and we see Lionel watching that. Joséphine seems a bit uncomfortable with the advances but it is unsure whether it is because of the advances themselves or because her father is watching as has been established from the camera to the audience. There was a choice made for the audience to be aware of the spectatorial gaze coming from Lionel, as we watch the couple we are aware that he is also watching them, taking that into account. At least I felt uncomfortable with the knowledge that her father was watching what to me was such an intimate scene between Joséphine and Noé.

#@theuncannyprofessoro #oxyfilmidentity

[supergoodfilmanalysis]

35 Shots of Rum and the little things

Claire Denis' 35 Shots of Rum (2008), set in contemporary France, paints a sedate picture of human relationships and the way their minutia means the world. Lionel and Josephine are father and daughter and Lionel's devotion to fatherhood causes Josephine to put herself aside sometimes to protect his feelings. He needs her to need him, and when she begins to express interest in Noé, he must come to terms with this. Denis is keenly invested in the small things: a covert glance, a cup of coffee placed on a saucer. Gabrielle, a cab driver who lives in the same building as Lionel and Josephine, shows interest in Lionel, who seems uninterested in anything beyond casual acquaintanceship with anyone except his daughter. The film takes its time and Agnès Godard's moody cinematography helps the audience live in its world--these characters are interconnected and long for more, sure, but they're in no rush to name or finalize these connections. Gabrielle clearly imagines a possibility of herself fitting into Lionel and Josephine's domesticity, but she doesn't hurry to facilitate this and instead lets it be what it is. Denis' storytelling allows these people to drift towards one another, struggling with the ebbs and flows of the limits of their own comfort, instead of pushing them towards one another. Lionel views Rene, his depressed retiring coworker, as a looming specter of what he could be if he fails to have a purpose and upon finding him at his demise, this warning seems final. Denis' narrative structure requires you to pay rapt attention for the way that, at first glance, not much seems to be happening. The lived-in character of the film demonstrates faith in its audience to project their own feelings of the beauty in letting relationships crash on the shore onto the story.

@theuncannyprofessoro

#oxyfilmidentity #@theuncannyprofessoro

[faithconsumingcope]

i’ve been wanting to do some movie posting, soooo my top 5 claire denis goes as :

beau travail (1999)

35 shots of rum (2008)

white material (2009)

high life (2018)

the intruder (2004)

#claire denis #film girl #movie girl #film posting #beau travail #35 shots of rum #high life #french cinema #art cinema