Camille Claudel 1915

Camille Claudel 1915 is a 2013 French biographical film written and directed by Bruno Dumont. The film premiered in competition at the 63rd Berlin International Film Festival.[1]

Camille Claudel 1915
Film poster
Directed byBruno Dumont
Produced byRachid Bouchareb
Jean Brehat
Muriel Merlin
Written byBruno Dumont
StarringJuliette Binoche
Music byJohann Sebastian Bach
CinematographyGuillaume Deffontaines
Edited byBruno Dumont
Basile Belkhiri
Distributed byWild Bunch
Release date
  • 12 February 2013 (2013-02-12) (Berlin)
  • 13 March 2013 (2013-03-13) (France)
Running time
97 minutes
CountryFrance
LanguageFrench

Plot

At the end of her career the sculptor Camille Claudel seems to suffer with mental issues. She destroys her own statues and utters repeatedly that her former lover Auguste Rodin intended to make her life miserable. Consequently, her younger brother Paul sends her to an asylum on the outskirts of Avignon. Claudel tries to convince her doctor she is perfectly sane, while living among patients who obviously are not. She is desperate to see her brother again, hoping he might eventually support her plea.

Cast

  • Juliette Binoche as Camille Claudel
  • Jean-Luc Vincent as Paul Claudel
  • Robert Leroy as the doctor
  • Emmanuel Kauffmann as the priest
  • Marion Keller as Miss Blanc
  • Armelle Leroy-Rolland as the young novice

Reception

According to Cine Vue's Patrick Gamble the filmmaker Bruno Dumont has delivered an "incredibly compassionate and humble observation of a tortured artist".[2] Variety's Guy Lodge described the film as a "moving account of a brief period in the later life of the troubled sculptress" and appreciated Juliette Binoche's impersonation of Camille Claudel as nothing less than "mesmerising".[3] Screen International's Jonathan Romney ranked this film as "an amplification and indeed a deepening" of Dumont's hitherto existing accomplishments and artistic impact.[4] Eric Kohn of IndieWire stated the film had a "concision" which displayed "an exactitude worthy of Robert Bresson".[5] Analysing the film in depth for The Hollywood Reporter, Jordan Mintzer summed up the film in his "bottom line": "An unsettling portrait of the artist as a mad woman, anchored by a riveting lead performance".[6]

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See also

References

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