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curator's noteThis week, our writers were once again confronted with the task of discussing a film that resides outside the norms of film criticism. The bizarre and at often times difficult to watch LA RUPTURE (Claude Chabrol 1970) creates a hectic, drug-addled experience from start to finish which only increases in confusion as the rules of cinematic editing are loosened throughout its running time. The chaos that ensues will no doubt allow room for an stimulating debate with our writers. RUPTURING THE SENSESSTEVEN FEGAN LA RUPTURE (Claude Chabrol 1970) begins with a rattle of the senses, living up to its namesake as it subverts the conventions of a slow-burn set-up to the story and instead introduces two of its primary characters in a spectacularly sudden incident. However, before this, the film opens with the foreboding words: “What utter darkness suddenly surrounds me?” spoken by French dramatist Jean Racine who was known for combining elements of comedy and tragedy. These words have instant connotations of unexpectedness and subversion from conventional modes of storytelling as the opening scene plays out and, in hindsight, acts as a warning for the viewer. They also attest to the overall theme of surprise and suspense throughout the film where there is rarely any warning or exposition as to the fate of these characters. We are introduced to our main protagonist Hélène (Stéphane Audran), as she prepares her son’s breakfast. Her husband Charles (Jean-Claude Drouot) stumbles out from another room and without warning or incitement, assaults his wife and subsequently their son (Laurent Brunschwick). This startling event, both for Hélène and the audience, immediately fractures the subtle introduction previously set up to provide an unpredictable series of events that later unfold. The tenacious start to the film immediately poses several questions to the spectator as there is no explanation for Charles’ actions. But before the audience can even begin to speculate the reasons for his sudden burst of violence against his wife, he lifts his son into the air and throws him against a nearby table. At this point, the film surpasses questions of domestic abuse and instead invites the audience to question the unpredictable direction of the film itself. LA RUPTURE sets out to do exactly what its title suggests: rupture the conventions of story set-up and defy the expectations of its audience to provide a fresh and unexpected thriller that never truly explains itself, a trademark style that Chabrol utilised throughout his career. In doing so, it maintains the suddenness and confusion that a breach of any kind usually presents. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch LA RUPTURE on mubi.com until 5 May 2017 and join the discussion!
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curator's note This week, our writers discuss a film that speaks quietly to its audience and requires the recognition of the quiet intensity of the narrative. SILENCE (Pat Collins 2012) is about a sound recordist, Eoghan (Eoghan Mac Giolla Bhride), who returns to Ireland after 15 years of living in Germany to record areas free of man-made sound. During his quest, he is influenced by folklore and a series of challenging encounters that reflect the intangible silence of his childhood. The film celebrates the beautifully poetic landscape of Ireland and the stories it has to tell. TALKING IN SILENCEMATTHEW WEARS Contrary to what the title would suggest, SILENCE (Pat Collins 2012) is a film in which sound plays an equally important role as to its absence. Although the film follows the brooding Eoghan (played by co-writer, Eoghan Mac Giolla Bhride) and his quest for quiet, it is through dialogue that the secrets to this film are unlocked. Seemingly random encounters occur throughout this pensive piece of filmmaking and the conversations had during these moments act as our guide through the often ambiguous narrative. This is an extremely personal film and with each new character a new concept or snippet of information is unveiled. These interactions allow for Eoghan’s conscience to slowly be exposed as well as allowing us to delve deeper into his memories. The information gives the audience a framework to better understand the film. This is explicitly demonstrated in the scene in which Eoghan joins a local man for a drink in his mother's house. Together, they talk of philosophical theories which re-contextualise what silence could actually represent. Here, it is perceived as a concept achievable only prior to birth or after death. It is perhaps the most crucial scene in the film, allowing the audience to view silence as something other than an objective of tranquillity. It can also be seen as devoid of any life or existence. The conversation that takes place is extremely free-flowing and natural, making it hard to determine where "documentary" ends, and "drama" begins. SILENCE is a film that requires the utmost attention to the dialogue and themes being discussed in order to interpret the narrative. Without these pivotal pieces of information, the film becomes nothing more than an assortment of bleak images, perhaps only fully understood by the writer himself. The brief exchanges throughout act as the glue to produce a coherent, thought-provoking film. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch SILENCE on mubi.com until 26 April 2017 and join the discussion!
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