Rust & Bone (Jacques Audiard)

johnny_ultimate

https://www.youtube.com/watch?v=QRQyuzcg_Pk

The latest from Audiard, director of A Prophet and The Beat That My Heart Skipped.

Saw it today, and while it's a lot of things, at its core it's a very eccentric love story. Marion Cotillard - one of the most elegant, beautiful and talented actresses working today - falls for troubled asshole Matthias Schoenaerts after she suffers a life-changing injury. It sounds absurd in written form - a narrative that involves everything from orca whale accidents to bare knuckle boxing tournaments. And, yes, sometimes the plot does come across as silly or contrived. Yet it's also an visually rich, emotionally involving film. Characters payoffs are hard won, and the viewer is trusted to work through a lot of narrative and visual symbolism to discover the insights. Schoenaert's character is occasionally infuriating though.

There's minimal exposition alongside some very unusual soundtrack choices - from (two!) Bon Iver music cues to a surprisingly poignant utilisation of Katy ****ing Perry. I don't want to give too much away because the story goes in some unexpected directions throughout, but despite a few awkward fumbles it's a generally beguiling, intriguing film. It's not as powerful as The Diving Bell and the Butterfly, but some of the aesthetic decisions (particularly the frequent use of water-based symbolism) and general themes reminded me of that.

Unless I'm underestimating the appeal of Audiard and Cotillard, I'm not sure if it will resonate with the same wider audience A Prophet did - tad too peculiar for that. It also faces the unenviable challenge of opening alongside The Master on November 2nd. Still, looking forward to hearing more opinions on it.

Raoul Duke

I got a ticket for the premier at Cineworld today. It's on next week and tickets are free if you've got an Unlimited card. Can't wait.

clusk007

From the same director as 'A Prophet' comes rust and bone. Reviews on this have been excellent, trailer looks very intriguing. Out November 2

https://www.youtube.com/watch?v=vyAJDL3mTxI

Amirani

I went along to see this at the unlimited screening in Cineworld this evening and I thought it was excellent, easily one of my favourite this year.

I was surprised that there was a few walk-outs during it?

Raoul Duke

NiallSparky wrote: »

I was surprised that there was a few walk-outs during it?

I saw a couple walk out after 20 minutes, didn't see any others. Were there more?

Enjoyed the film as well. Didn't enjoy it as much The Prophet though, but then again that was a masterpiece, in my opinion.

Also, I wonder if I would have enjoyed it as much with a different actress. I could literally watch a 20 epic of a normal day in the life of Marion Cotillard, as long as it was full of close ups of her face.

johnny_ultimate

Marion Cotillard really is one of the most beautiful and talented actresses working today. Her performance in this is magnificent - thought it first it was just going to be a portrayal of self-pity, but evolves into something much deeper and more unusual than that. A physical and emotionally demanding role, and Cotillard excels.

I think the third act of the film is its biggest problem -

the whole ice breaking sequence and the happy flash-forward seemed cheap

. At the same time I really like the character revelations and resolutions were presented with. Just feel that the execution was too contrived.

grames_bond

johnny_ultimate wrote: »

Marion Cotillard really is one of the most beautiful and talented actresses working today. Her performance in this is magnificent - thought it first it was just going to be a portrayal of self-pity, but evolves into something much deeper and more unusual than that. A physical and emotionally demanding role, and Cotillard excels..

Completely agree! She was unbelievable in this movie - told more of a story in one facial expression than 99% of acresses can do in a 20 minute monologue!

johnny_ultimate

There's another free preview of this in the IFI next Tuesday. Members should have got an email about a draw for tickets today (although, given my experiences with IFI member draws, I wouldn't hold my breath). There'll also supposedly be tickets offered in The Sunday Times. That's probably a better bet - won tickets from them for an Argo preview this evening.

Johnny_Fontane

Went to see this the other day in the Lighthouse.

Its fantastic, a real treat. I'm obsessed by Marion Cotillard. Not only is she stunningly gorgeous, she's an incredible actor.

Kinski

Yeah, it's fab (even though the screenwriter must've been actively trying to leave big gaping holes in the plot.)

And Mlle Cotillard...legs, no legs, she's still stunning.

fluke

Kinski wrote: »

Yeah, it's fab (even though the screenwriter must've been actively trying to leave big gaping holes in the plot.)

And Mlle Cotillard...legs, no legs, she's still stunning.

Completely agree. While I enjoyed this I felt this had the potential to be so much more. Overall a I left the cinema with the feeling an opportunity was missed.

JP Liz V1

Seems to be plenty of oscar buzz going around for Marion Cotillard for her role here

Ottway

fluke wrote: »

Completely agree. While I enjoyed this I felt this had the potential to be so much more. Overall a I left the cinema with the feeling an opportunity was missed.

Could be down to something as simple as deleted scenes.

I remember seeing The Jacket (around 2004/05) and feeling the same way and it was only when watching it with the deleted scenes (over twenty minutes of them) intact, that the film came into it's own.

Still loved Rust and Bone though and it flew by. One of those movies that you totally forget is subtitled, you'll be that engrossed.

Kinski

Ottway wrote: »

Could be down to something as simple as deleted scenes.

I doubt additional scenes could resolve some of the problems. For example,

the guy who installs cameras says that he does it because the employers need an excuse to fire workers, but it's also clear that installing secret cameras to spy on workers is illegal. How can evidence gathered illegally by cameras be used as the legal basis for sacking someone? Also, why does he never mention to his sister (whom he knows takes stuff from the storeroom at work) that there are spy cameras in there?

johnny_ultimate

Kinski wrote: »

I doubt additional scenes could resolve some of the problems. For example,

the guy who installs cameras says that he does it because the employers need an excuse to fire workers, but it's also clear that installing secret cameras to spy on workers is illegal. How can evidence gathered illegally by cameras be used as the legal basis for sacking someone? Also, why does he never mention to his sister (whom he knows takes stuff from the storeroom at work) that there are spy cameras in there?

While I think the film's biggest problem is the plot is sometimes contrived to the point of ludicrousness -

the ice-breaking scene was a particularly woeful and cliched dramatic shortcut

- I don't know if the two examples you mentioned are particularly damaging plot holes.

I fully buy that Alain would not have informed his sister of the spy cameras - he's too inconsiderate and uncommunicative for that, especially with family matters.

It may not be realistic - although I don't think this is a film that will be accused of that particular trait - but to me it fits with the character's representation elsewhere.

And I didn't find it too much of a stretch to think employers would use hidden cameras despite the illegality - indeed, I've had bosses who took every opportunity to keep an eye on their employees, trust and morality be damned. Armed with exact details of theft, it wouldn't be too hard to imagine they could conjure up a more legal explanation, and a guilty employee is unlikely to argue - until, inevitably, one grows suspicious, as they do here.

Still, I do feel many of the narrative devices used throughout were a tad inelegant, and the film requires a greater than normal suspension of disbelief. That the film works so well in spite of that is a testament to the hard work of the director and the cast.

Kinski

johnny_ultimate wrote: »

While I think the film's biggest problem is the plot is sometimes contrived to the point of ludicrousness -

the ice-breaking scene was a particularly woeful and cliched dramatic shortcut

- I don't know if the two examples you mentioned are particularly damaging plot holes.

I fully buy that Alain would not have informed his sister of the spy cameras - he's too inconsiderate and uncommunicative for that, especially with family matters.

It may not be realistic - although I don't think this is a film that will be accused of that particular trait - but to me it fits with the character's representation elsewhere.

And I didn't find it too much of a stretch to think employers would use hidden cameras despite the illegality - indeed, I've had bosses who took every opportunity to keep an eye on their employees, trust and morality be damned. Armed with exact details of theft, it wouldn't be too hard to imagine they could conjure up a more legal explanation, and a guilty employee is unlikely to argue - until, inevitably, one grows suspicious, as they do here.

Still, I do feel many of the narrative devices used throughout were a tad inelegant, and the film requires a greater than normal suspension of disbelief. That the film works so well in spite of that is a testament to the hard work of the director and the cast.

I could have done without everything that happens after he leaves. Even the idea that he'd be admitted to some training camp and become a champion kickboxer - at that stage of his life, not having devoted himself to it before and trained consistently from an early age - was stretching credibility. It was all becoming a bit too "Rocky" at that stage, as it had earlier when he suddenly turned the tables in a fight with a bigger, stronger opponent because he sees Cotillard's character approaching.

Those are Hollywood sensibilities creeping into the sort of serious drama about issues like disability, domestic violence, and class that Hollywood just doesn't make itself.

johnny_ultimate

Kinski wrote: »

Those are Hollywood sensibilities creeping into the sort of serious drama about issues like disability, domestic violence, and class that Hollywood just doesn't make itself.

I don't think such narrative excess is necessarily a new thing for Audiard. In fact, he's kind of specialising in well crafted but not particularly subtle takes on familiar genres - like a mobster learning to be a concert pianist (Beat that My Heart Skipped) or, as wikipedia puts it, the 'French prison melodrama' of A Prophet. In fact, I think its these smart takes on accessible, mainstream ideas that have allowed him to carve himself a welcome niche on the world cinema scene. Few combine Hollywood cliches and arthouse sensibilities with quite the same verve as this director.

And apparently his next film may well be a musical :pac:

Bullseye1

Has this got a limited release in Ireland? My local is not showing it presently. Have always been a fan of MC.

e_e

Screen, IFI, Lighthouse, Cineworld and IMC Dun Laoghaire are playing it.