One day, she tells her friend Hauviette how she cannot bear to see the suffering caused by the English. Madame Gervaise, a nun, tries to reason with the young. Camille Claudel 1915 Trailer English subtitles http://youtu.be/6KZLT1hJ9Is.
Filename Camille.Claudel.1915.2013.LIMITED.DVDRip.x264-BiPOLAR Name camilleclaudel19152013limiteddvdripx264-bipolar Content preview # Start End Metadata Lines 1 00:01:8.601 00:01:11.911. Based on the works and correspondence. of Paul and Camille Claudel 2 00:01:11.971 00:01:13.511.
and Camille's medical records. 3 00:01:27.387 00:01:30.857. Originally from Villeneuve in Picardy,. Camille Claudel is a sculptor, 4 00:01:30.924 00:01:34.534. born in 1864 and sister. of the writer Paul Claudel.
5 00:01:34.594 00:01:38.174. Student and then mistress. of Auguste Rodin for 15 years, 6 00:01:38.231 00:01:40.441. until 1895 when she leaves him.
7 00:01:40.500 00:01:42.810. In 1913,. following her father's death 8 00:01:42.869 00:01:46.079. and after 10 years. shut away in her Paris studio, 9 00:01:46.139 00:01:49.309. she is confined by her family,. first near Paris, 10 00:01:49.375 00:01:51.615.
then in southern France. in Montdevergues. 11 00:01:53.847 00:02:0.317. 1915, Montdevergues Asylum,.
near Avignon 12 00:02:6.759 00:02:9.399. Mademoiselle Claudel, please. 13 00:02:10.563 00:02:12.473. Come for your bath now. 14 00:02:12.532 00:02:14.772.
You're very dirty. 15 00:02:26.379 00:02:29.689.
Come and have your bath. It will do you good.
Camille Claudel 1915 Rating: 4 stars out of 5 Starring: Juliette Binoche Directed by: Bruno Dumont Running time: 91 minutes Parental guidance: Brief nudity, adult themes (In French with English subtitles) The first thing we see in the movie biography Camille Claudel 1915 is the back of a woman’s head. Two nurses, or nuns, escort her into a room to have a bath. They take off her clothes and lower her into the tub. That’s when we see her face, and the many torments written across it: humiliation, resignation, pain, discomfort, fear, loss.
It’s an extraordinary moment. It’s not acting as much as it is the stripping away of everything that comes between the woman and the people witnessing her misery.
It’s immersion: not in the tub, but in another life. The performer is Juliette Binoche, and the character is Camille Claudel, a real-life French sculptor who was also Auguste Rodin’s mistress (their story was told before in a 1988 film with Gerard Depardieu as Rodin and Isabelle Adjani as Claudel). Camille’s family has placed her in an asylum for the mentally ill near Avignon, where she is bored and frantic and distraught and convinced that it’s all a plot by Rodin and his rich friends to strip of her of her art and her few possessions. She thinks the people in the asylum are trying to poison her, and so she cooks her own food — a few boiled potatoes — and eats alone, sitting outside, silently adding up the grievances.
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Juliette Binoche as Camille Claudel, left, and Alexandra Lucas as Mademoiselle Lucas It has been 20 years since Rodin spurned her and she is mad with something, but it’s not a thing that should have brought her here. Camille Claudel 1915 is set in a real-life mental institution, austere and claustrophobic even though it opens into vast gardens and dun-coloured hills. Around her, director Bruno Dumont has placed real-life inmates, mentally handicapped women with frightening laughs who loll their tongues or bang spoons endlessly on a table top. One of them, a Mademoiselle Lucas, has a toothless affection that occasionally gives way to something malevolent in her stare. “I can’t stand the cries of these creatures,” Camille says. It’s a rare admission: most of Binoche’s performance is silent, except for two speeches, one to her psychiatrist, about the injustice of her situation (“I’m here without knowing why”) and one to her brother, the writer and mystic Paul (Jean-Luc Vincent).
Paul arrives in a strange interlude in the middle of the film, a religious man glorying in “the eternal infancy of God.” Apart from that, the movie stays in the suffocating precincts of the asylum, where Camille wanders with a slow monotony from garden to chapel to her bare room, occasionally weeping. Juliette Binoche as Camille Claudel At one stage she tries to write a letter to the outside world.
In many ways, Camille Claudel 1915 is the female French version of 12 Years A Slave, without the physical brutality but with a similar sense of terror. She doesn’t belong where she is — she’s often recruited to help with the other inmates — and while her paranoia seems insane, her sense of persecution is frighteningly lucid. She is a woman being held against her will for the crime, it appears, of love. A sense of boredom infuses Camille Claudel 1915: this is a slow-moving film about the creep of time and about loss. Dumont (Twentynine Palms, Flanders) foregoes music or even the strictures of narrative; he tells his story — about the price of genius and the position of women in the early years of the 20th century — in the haunting planes of Binoche’s face. The camera stays on her for long periods, and we become complicit in her suffering. It’s a great performance in a movie that is difficult to watch.
— CORRECTION: A previous version of this story misstated the name of the artist. The story has been changed to reflect that the artist is August Rodin.
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