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Denis does wonders at filming the body as a source of desire and corruption. Like shooting Isabelle Huppert in White Material as pale skin in hot sun, crying out to be pillaged.
In Bastards, it’s the skin of the youth and of innocence corrupted by violence and power. Michel Subor is - unbelievably malevolent - without any real anchor, until the final few seconds of the film.
Even sharing a name in common, Bruno Dumont’s L’Empire sees the master provocateur take aim at the incessant and absurd Star Wars and Marvel sequels, creating his own sci-fi odyssey, as idiotic as he sees these to be.
In the remote and banal Opal Coast of Northern France, Dumont shows us how mundane it would be if there really was a galactic war on our doorstep.
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