When I was in college and afterwards, I really came to understand and appreciate what Bresson was doing - Hal Hartley, LWLIES.COM
Jean Luc Godard is often the go-to comparison for Hal Hartley. He was once even dubbed the “Jean Luc Godard of Long Island”. And While Hartley certainly doesn’t deny Godard’s basic/surface influence, there are other filmmakers that he’s drawn inspiration from over the last 4 decades (at a certain point we need to move beyond the Band Of Outsiders/Simple Men comparison).
Now…comparing Hartley’s work to Robert Bresson isn’t exactly breaking any new ground either. Both filmmakers have a very distinct deadpan/intentionally monotone yet very rehearsed approach (there’s a lot more to the films of Hal Hartley & Robert Bresson but if you ask the average person that’s familiar with their work, chances are they’ll mention both director’s unique deadpan style first before anything else).
Hartley has acknowledged Bresson’s influence in a semi-reluctant way:
In 1990, with my first films, people said I was doing some sort of American Godard or Bresson thing. In any event, those two filmmakers have been important references for my work since the 80’s - Hal Hartley, psychotroniccinema.com
(years ago I went to see him speak at the IFC center and he brought up Bresson’s films as a source of inspiration multiple times).
Most of the comparisons you’ll see below are incredibly similar and that could very well be coincidental. But what sticks out to me are the moments that aren’t exactly identically shot-for-shot but still incredibly similar in tone and overall “vibe”. Their similarities go beyond the delivery of dialogue…
These two moments are shot quite different but the final result, a slap to the face, is cut off at the last minute so we don’t actually see the hand make contact to with the face…
L'Argent / Trust
These two scenes are also shot totally different but still show the same action…
The Devil Probably / Amateur
Moments like these below show a kind of overly choreographed movement between the actors bordering on a dance routine. Again - these scenes are not identical but at the same time incredibly similar.
The Devil Probably / Amateur
The Devil Probably / The Girl From Monday
There are also plenty of minor moments that make the connection between Bresson & Hartley so strong which I highlight below (if you aren't familiar with the films of Robert Bresson and Hal Hartley you should probably skip this and get familiar first)
The Diary Of A Country Priest / Ambition
The Devil Probably / Simple Men
Au Hasard Balthaar / Henry Fool
Pickpocket / Henry Fool
Pickpocket / Henry Fool
Diary Of A Country Priest / Simple Men
Au Hasard Balthaar / Ned Rifle
L' Argent / Henry Fool
Une Femme Douce / Amateur
L' Argent / Trust
Mouchette / Trust
Mouchette / Trust
Mouchette / Trust
Mouchette / Trust
Mouchette / Trust
The Devil Probably/ Ned Rifle
Mouchette / Trust
Au Hasard Balthazar/ Amateur
Mouchette / Simple Men
Au Hasard Balthazar / The Unbelievable Truth
Mouchette / Ambition
Mouchette / Henry Fool
Four Nights Of A Dreamer / The Unbelievable Truth
Four Nights Of A Dreamer / The Unbelievable Truth
Mouchette / Simple Men
The Devil Probably / Henry Fool
Four Nights Of A Dreamer / The Unbelievable Truth
Four Nights Of A Dreamer / The Unbelievable Truth
Here are a couple of visual and audio comparisons...
Here’s a collection of some Deren/Lynch comparisons that got left on the cutting room floor a few years back that I felt like posting for whatever reason.
This is an ongoing series so make sure to to check out the previous entries:
Even though I no longer do my annual end of the year wrap-up, I still contribute my list/thoughts to both Wrong Reel & Toronto Film Review.
Click the image below to watch/listen to the newly formatted Wrong Reel podcast (make sure to subscribe) where some of the the unofficial "wrong reel all-stars" tackle 2023...
And click below to see the many different best-of -2023 lists rounded up by David Davidson of Toronto Film Review...
I normally don’t like when filmmakers poke fun at critics. Their “clap-backs” at negative criticism are either really juvenile or just not very witty. To be clear - I have no problem with a filmmaker defending themselves or even (momentarily) stooping to the level of an immature critic that crosses the line. Just be good with your response. Don't be flat or generic. If you’re going to take a swing at the low-hanging fruit - at least make sure that you knock it out of the park. Filmmakers rarely do this. Quentin Dupieux’s latest short feature is an exception. I haven't been to excited about the 2023 movie year but Dupieux's Yannick sort of restored my faith. This story is an interesting case because Dupieux takes on the perspective of not only the entitled critic, but he also takes the side of the disgruntled artist as well. In the film we see an audience member (“Yannick”) kidnap a theater troop at gunpoint mid-performance because he’s displeased with their play. The basic story sounds simple enough but this film is very absurd (if you’re familiar with Dupieux’s films then you know he works in absurdity). Yannick is the product of The Exterminating Angel (a group of folks are trapped in one place and can’t leave) and The Discreet Charm Of The Bourgeoisie (the majority of Yannick plays out like a particular moment in Bunuel’s classic)...
The Discreet Charm Of The Bourgeoisie / Yannick
Any time someone makes a movie that’s considered “weird” there’s usually an impulse to compare it to either David Lynch or Bunuel. In this case the Bunuel comparison is fair. It’s also not the first time Dupieux has referenced Bunuel in his work…
He[Buñuel]’s some kind of master to me - Quentin Dupieux, tinymixtapes.com
Un Chien Andalou / Lamb's Anger
Men fascinated with women's shoes...
Viridiana / Reality
Quentin Dupieux takes on that brand of modern critic that trashes art because it isn’t immediately deemed a masterpiece or doesn’t speak to their specific needs. In the film, Yannick heckles the play and expresses his frustration early on in the performance and demands that the actors do something else (he eventually uses force). If you’re on twitter, Facebook, letterboxd, tiktok, YouTube etc - then you’re familiar with that brand of movie “critic” that either tweets in the middle of a film to their followers or has their heavily edited video review ready to go minutes after walking out of the theater. When did you even have time to digest the film? Sometimes you read a letterboxd review and you can tell the person doesn’t even care about the movie they’re writing about. They just want to get a bunch of cheap (unfunny) jokes off. There’s also that brand of critic that can only process a film through their own unique super personal life experiences and if they don’t see a character or scenario that relates directly to them, then the movie is considered a failure. I have yet to see a movie about a large Black, left-handed, kidney transplant recipient but I still manage to enjoy movies most of the time. I think more so-called marginalized critics might want to follow suit. You might appreciate movies a little more.
This is very much a "Marcus" movie so I guess it isn't for everyone. But with a running time of only 67minutes, I'd recommend anyone give this a shot. If you aren't familiar with the work of Quentin Dupieux, this is the perfect gateway.
