Sunday, April 7, 2013

White Material (France/Cameroon: Claire Denis, 2009)

“You can trust that Claire [Denis] will never place the camera haphazardly, that it’s really conveying something…the most beautiful moments are when nothing’s going on, just the turn of a head, a certain mounting anxiety…I think Claire has a way of filming the silence, of making something palpable that is by definition impalpable, indefinable, an atmosphere…it’s really Claire’s greatest strength.“ – Isabelle Huppert on working with Claire Denis in White Material

White Material (France/Cameroon: Claire Denis, 2009: 106 mins)

"Claire Denis: Special Themed Issue." Reverse Shot #25 (2009)

Dinning, Samantha. "Great Directors: Claire Denis." Senses of Cinema (2009)

Dooley, Kath. "Foreign Bodies, Community and Trauma in the Films of Claire Denis: Beau Travail (1999), 35 Rhums (2008) and White Material (2009)." Screening the Past #37 (September 2013)

Funderburg, Christopher, et al. "Claire Denis." Wrong Reel #122 (April 3, 2016)

Goldsmith, Leo. "Good Work: Claire Denis’s Early Career as Assistant Director." Reverse Shot #29 (2009)

Hughes, Darren and Michael Leary. "Claire Denis." Movie Mezzanine (2015)

Reardon, Kiva. "Claire Denis and Objects of Desire." Keyframe (March 3, 2016)

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)

Taubin, Amy. "White Material: Out of Africa." Current (April 12, 2011)

Thomson, David. "White Material: Claire Denis’s new movie is puzzling, nasty, and deeply disturbing." The New Republic (January 7, 2011)

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."]

Wisniewski, Marcin. "White Material." Senses of Cinema #63 (June 2012)

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