#Rémon Fromont

[genevieveetguy]

- Don’t you feel something is about to happen? - Things can’t stay like this. - No, they gotta blow up. They have to. Once things blow, it’ll all be different. No more need to let people grope you. Nor to get married, or all dressed up. - Nor to join the army. - There’ll be no more injustice on Earth. - Nor poor, or rich. - Everyone will be poor. - Or rich.

Portrait of a Young Girl at the End of the 60s in Brussels (Portrait d'une jeune fille de la fin des années 60 à Bruxelles), Chantal Akerman (1994)

#Chantal Akerman #Circé Lethem #Julien Rassam #Joëlle Marlier #Cynthia Rodberg #Rémon Fromont #Yarol Poupaud #Martine Lebon #1994 #woman director

[badgaymovies]

From The East (1993)

From The East by #ChantalAkerman, "clearly means more to her than just the curiosity of visiting foreign lands",

CHANTAL AKERMAN Bil’s rating (out of 5): BBBB Original Title: D’Est Belgium/France/Portugal, 1993. Lieurac Productions, Paradise Films, Radiotelevisão Portuguesa, La Sept-Arte, Centre de l’Audiovisuel à Bruxelles, Radio Television Belge Francophone, Centre du Cinéma et de l’Audiovisuel de la Fédération Wallonie-Bruxelles, Loterie Nationale de Belgique, Fonds Eurimages du Conseil de l’Europe.…

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#Agnès Bruckert #Belgium #Bernard Delville #Centre de l&039;Audiovisuel à Bruxelles #Centre du Cinéma et de l&039;Audiovisuel de la Fédération Wallonie-Bruxelles #Chantal Akerman #Claire Atherton #Fonds Eurimages du Conseil de l&039;Europe #François Le Bayon #France #La Sept-Arte #Lieurac Productions #Loterie Nationale de Belgique #Natalia Chakhovskaia #Paradise Films #Portugal #Radio Television Belge Francophone #Radiotelevisão Portuguesa #Rémon Fromont #TIFF 1993

[byneddiedingo]

Stanislas Merhar in Almayer's Folly (Chantal Akerman, 2011) Cast: Stanislas Merhar, Marc Barbé, Aurora Marion, Zac Andrianasolo, Sakhna Oum, Solida Chan. Screenplay: Chantal Akerman, Henry Bean, Nicole Brenez,  based on a novel by Joseph Conrad. Cinematography: Rémon Fromont. Production design: Patrick Dechesne. Film editing: Claire Atherton Lots of movies -- think of Sunset Blvd. (Billy Wilder, 1950) and Inside Llewyn Davis (Joel Coen and Ethan Coen, 2014), for example -- begin with an incident and then flash back for the rest of the movie to explain it. So Chantal Akerman's Almayer's Folly begins with the camera following a Malaysian man into a nightclub where another man is lip-synching to Dean Martin's version of the song "Sway" as a group of women dances behind him. Suddenly the man who entered the club is on stage stabbing the lip-syncher. The music breaks off and all of the dancers flee the stage except one, who continues to perform the hula-like hand movements as if nothing had happened. We hear a voice call out, "Nina! Nina!" but she continues in her trance-like state for a while until she stops and begins to sing Mozart's setting of "Ave Verum Corpus" as the camera holds on her in closeup. The movie then flashes back to reveal that Nina (Aurora Marion) is the daughter of the European Almayer (Stanislas Merhar) and a Malaysian woman, Zahira (Sakhna Oum). Almayer has come to Malaysia in search of his fortune -- he has heard of a gold mine ripe for the taking. Zahira and Nina live with him in a house by the river until one day his fellow European fortune-hunter, Captain Lingard (Marc Barbé), arrives to take Nina to the city to be educated: Almayer wants her to have the benefits and privileges of a European lady. Though Zahira and Nina flee into the jungle, Almayer and Lingard capture the girl. Nina is intensely unhappy at the school, scorned by the European girls, and when Lingard, who has been paying her tuition for Almayer, dies, she is expelled. She wanders the streets of the unnamed Malaysian city (the movie was actually filmed in Cambodia) and finally returns to Almayer's home. There she's seduced by Daïn (Zac Andrianasolo), a shady young man who is supposedly helping Almayer find his fortune. Almayer recognizes his defeat and allows Nina and Daïn to leave together. Unlike Wilder and the Coens, Akerman doesn't return to the opening scene at  the film's end, but instead leaves us with two of her characteristic long takes: The first shows Almayer, Nina, and Daïn arriving at a sandbar where the river meets the sea to await the arrival of the boat that will take the two young people away; the camera lingers in a long shot as the boat arrives and Nina and Daïn swim out to it, then Almayer and his servant, Chen (Solida Chan), push off into the river for their return home. The second long take is a closeup of the haggard, obviously very ill Almayer as he sits brooding in his decaying home, with Chen standing out of focus in the background. At the beginning of this take, Almayer says, "Tomorrow, I would have forgotten," a sentence that he repeats at the end after we watch the sun play across his face -- moving much more swiftly than it would in actuality -- and he talks about how the sun is cold and the river is black. By now, we have realized that the lip-syncher was Daïn and that Chen was his assassin. As for Almayer, we can only assume that he has died. Almayer's Folly, which Akerman loosely adapted from the early Joseph Conrad novel, is clearly a fable about the tragedy of colonialism, but she's not intent on laboring that topic. It's as much an attempt to prod the viewer into contemplating the mystery of character and identity as her more celebrated Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) was, and by using less radical variations on the same techniques -- extended takes, minimized action -- she used in that film. Akerman developed a compelling and identifiable style, but there is a point at which style becomes mannerism. (We all want to be thought "stylish," and none of us want to be thought "mannered.") I think Almayer's Folly nears that point but doesn't fully reach it, largely because of the compelling performance of Merhar as Almayer, and because of Akerman's use of the setting, with the help of Rémon Fromont's cinematography and Claire Atheron's editing. She also makes fine ironic use of the Dean Martin song and the Mozart hymn, as well as the only non-diegetic music in the film, interludes filled with the erotic longing of Wagner's Prelude to Tristan and Isolde.

#Almayer's Folly #Chantal Akerman #Stanislas Merhar

[badgaymovies]

From The Other Side

From The Other Side by #ChantalAkerman, "The information enflames the soul while the quieter moments do what Akerman always does best"

CHANTAL AKERMAN Bil’s rating (out of 5): BBBB Original Title: De l’autre côté France/Belgium/Australia/Finland, 2002. Arte France Cinema, Audiovisuel Multimedia International Production, Carré-Noir RTBF, Chemah I.S., Paradise Films, Special Broadcasting Service, Yleisradio. Screenplay by Chantal Akerman. Cinematography by Chantal Akerman, Robert Fenz, Rémon Fromont. Produced by Xavier Carniaux,…

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#Arte France Cinema #Audiovisuel Multimedia International Production #Australia #Belgium #Brigitte De Villepoix #Carré-Noir RTBF #Chantal Akerman #Chemah I.S. #Christiane Philippe #Claire Atherton #Elisabeth Marliangeas #Fabrice Puchault #Finland #France #Luciano Rigolini #Marilyn Watelet #Paradise Films #Rémon Fromont #Robert Fenz #Special Broadcasting Service #Thierry Garrel #Xavier Carniaux #Yleisradio

[badgaymovies]

South (1999)

South (1999)

CHANTAL AKERMAN Bil’s rating (out of 5): BBBB.5 Original Title: Sud France/Belgium, 1999. Audiovisuel Multimedia International Production, Carré Noir, Chemah I.S., Institut National de L’Audiovisuel, La Sept-Arte, Paradise Films, Radio Television Belge Francophone, Yleisradio. Screenplay by Chantal Akerman. Cinematography by Rémon Fromont. Produced by Xavier Carniaux. Film Editing by Claire…

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#Audiovisuel Multimedia International Production #Belgium #Carré Noir #Chantal Akerman #Chemah I.S. #Claire Atherton #France #Institut National de L&039;Audiovisuel #La Sept-Arte #Paradise Films #Radio Television Belge Francophone #Rémon Fromont #Xavier Carniaux #Yleisradio