Friday Night (France: Claire Denis, 2002: 90 mins)
Cole, Kristin. "Claire Denis." Oxford Bibliographies (October 29, 2013)
Dinning, Samantha. "Great Directors: Claire Denis." Senses of Cinema (April 2009)
Funderburg, Christopher, et al. "Claire Denis." Wrong Reel #122 (April 3, 2016)
Gee, Felicity. "Claire Denis." The Cinematologist #61 (April 19, 2018) ["The episode covers a range of topics including aesthetics and feminism, the canonisation of Beau Travail, as well as the new film and how it fits into her body of work. Music in the episode comes from some of the collaborations Denis has undertaken with the band Tindersticks."]
Grant, Catherine. "35 Shots of Claire Denis (and More)." Film Studies For Free (April 23, 2009)
Hughes, Darren. "High Life and the 'Idea of a Claire Denis Film.'" Notebook (April 16, 2019)
Koresky, Michael and Jeff Reichert. "Claire Denis - The Art of Seduction: An Introduction." Reverse Shot (July 16, 2009)
Morrow, Fiona. "Claire Denis: That Friday Night Feeling." Independent (August 7, 2003)
Nelson, Max. "Claire Denis' Chemical Reactions." The New York Review of Books (April 27, 2018)
Preziosi, Patrick. "“Why Don’t You Ever Take Me In Your Arms”: Claire Denis’ Cinema of Intimacy." Photogénie (November 16, 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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