Nuri Bilge Ceylan’s “Three Monkeys” and the Dardenne brothers’ “Le Silence de Lorna” are two films that provoked feelings of admiration at the 2008 Cannes Film Festival, and not without reason. Ceylan is one of the consistent Turkish auteurs whose filmography is distinguished for the austere and cinematographic-specific way it treats its subject matter. The same applies to the Dardenne brothers who have created a distinctive filming style that deftly oscillates between emotional detachment and intense involvement.
Among other similarities, the two films share an emphasis on cinematographic narration in the way Robert Bresson understood it, that is, as a diegetic form that is not subservient to the plot or the scenario. In both films, the camera does not function as a means of reproduction of a pro-filmic reality, but as an instigator of emotions, gestures and responses that are not necessarily predetermined by the script. On the surface, they...
Among other similarities, the two films share an emphasis on cinematographic narration in the way Robert Bresson understood it, that is, as a diegetic form that is not subservient to the plot or the scenario. In both films, the camera does not function as a means of reproduction of a pro-filmic reality, but as an instigator of emotions, gestures and responses that are not necessarily predetermined by the script. On the surface, they...
- 6/29/2010
- by Angelos Koutsourakis
- The Moving Arts Journal
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