Bastards (France Germany: Claire Denis, 2013: 83 mins)
Bowen, Chuck. "The Film in the Shadows: What we should be talking about when we talk about THE COUNSELOR." Keyframe (November 2, 2013)
"Claire Denis." Syndromes and a Cinema #3 (October 17, 2011) ["On this episode we talk about Claire Denis, a highly-regarded contemporary French filmmaker who has made waves with films such as Beau travail and White Material. In particular we look at her films Chocolat (1988), Beau travail (1999) and Trouble Every Day (2001)."]
Denis, Claire. "'Anger is part of my relation to the world': An Interview with Claire Denis." Cléo 1.3 (November 28, 2013)
Funderburg, Christopher, et al. "Claire Denis." Wrong Reel #122 (April 3, 2016)
Nelson, Max. "Claire Denis' Chemical Reactions." The New York Review of Books (April 27, 2018)
Sarmiento, José. "The Strangers of Claire Denis: Her cinema speaks of the borders that divide humanity, and the people who cross them." Keyframe (March 24, 2017)
Walton, Saige. "Cinema and Sensation: French Film and the Art of Transgression by Martine Beugnet." Senses of Cinema #50 (April 2009) ["Those familiar with French director Claire Denis will be aware of the exquisite sensuality of her cinema. Whether coming together with another body in the world through the shared space and flesh of desire, or being driven apart from others by personal and sociopolitical circumstance, bodies – their gestures, bites and kisses, alternately languid or energetic movements, postures, habits and rituals – are the very “stuff” and substance of the film experience here. Given her privileging of the senses and her amenability to, as well as considered dialogue with, philosophers of the body, Denis is at the forefront of a number of contemporary directors (by no means exclusive to France, if we consider the work of figures such as Hou Hsiao-hsien, David Lynch or Wong Kar-Wai) who are generating much interest from sensually alert film scholars. Adrian Martin, for instance, identifies “the bedrock of Denis’ cinema [as] the flesh”, while Elena del Río comments that the “film body” of the cinema itself becomes a “sensation producing machine” in Denis, as if each film were “sending ripples of affect and thought across a diversity of its movements”, independent of the body of the viewer. The arresting materiality that infuses Denis forces us to look anew at sensory encounters with the cinema."]
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