This week on our film podcast 'Just to be Nominated,' we're talking about Animation! But surrender is not a part of a legionnaire’s mentality. The famous dance scene from Claire Denis's movie Beau Travail (1999) With one arm stretched up the side of a mirror twinkling with magenta lights, he takes a drag on his cigarette and edges his way toward the center of the dance floor where he walks in small circular steps as if marking his territory. But when they recline all the way with their arms raised overhead, the image takes a tragic turn; their bodies, limp and sprawled out, are lifeless. Museum members can rent the film for free for a week, while non-members pay a rental fee. The shorter, stockier Galoup peers up at him, his lips grim and downturned. So it was unexpected to see Lavant in “Beau Travail,” a 1999 film now being re-released in a 4K restoration, playing the repressed, button-down sergeant in the French Foreign Legion. Claire Denis’s film about legionnaires, ends with a fearless, thrilling dance by Denis Lavant, but that’s not its only choreographic beat. For nearly 90 minutes in the film, Galoup’s body has been fixed and hard. This year's Milwaukee Film Festival, running from Thursday, Oct. 15 to Thursday, Oct. 29, is entirely virtual this year, making it much easier for movie fans in Madison to enjoy it. Cooper Raiff wrote, directed and stars in the IFC Films feature about a college freshman having trouble fitting in. Claire Denis' alluring 'Beau Travail' is part war drama, part dance video. The circling duet, this one more predatory and ominous, is a face-off between Galoup and Gilles Sentain (Grégoire Colin), the young legionnaire he is both repelled by and attracted to. Mr. Lavant told Criterion that he improvised the dance, which was shot in only two takes. A fantasy to become someone else?

Is it a dance of death? “We see Galoup walking at night among the barracks, and I’d take a little step or something,” he said, adding that it was “almost like dancing.

He seems as locked up in his body as Lavant’s other characters are free — which turns out to be exactly the point of Denis’ daring and sensuous tale of desire and betrayal. In an email interview, Mr. Montet said his job was to “release the poetic power” of their bodies. Into the LabyrinthGenre: ThrillerRelease Date: 2020-10-09© © 2019 GAVILA S.R.L. He spins suddenly and kneels, taking his time. “Also this relation with the death: For one, it’s real and for the other one, it’s symbolic.”, Neither, in other words, belongs in ordinary society. Military drills in which the men climb over walls or crawl under wires flash by with speed and efficiency; but even those moments of action — seemingly everyday or pedestrian — can be deceiving, changing meaning the longer we watch. If you know of any films that should be on this list, drop me a line. While he should be the ostensible villain of the story, a cruel martinet who takes out his frustrations on his subordinates, Denis is almost tender toward his plight, a prisoner locked inside himself. But Denis shoots these chores as if they are dance sequences, the shirtless, musclebound soldiers moving in perfect synchronization.

The dance begins on his bed with a close-up of his pulsing biceps and the faint, opening beat of Corona’s “The Rhythm of the Night”; a moment later, he is transported to a nightclub. He was lying on his neatly made bed with a gun in his hand as the camera panned over his tattoo: “Serve the good cause and die.”. There’s a purposeful double-sidedness, as if what’s living within their muscular prowess is as unpredictable as Galoup’s nightclub dance. His dance twists things up: Who is this Galoup?

“To love is to surrender.”, “Mauvais Sang,” in which he runs to David Bowie’s “Modern Love”. Before seeing Claire Denis’ “Beau Travail,” I had only seen its star Denis Lavant in films by his longtime collaborator Leos Carax (“Holy Motors,” “Mauvais Sang”). “They give their body to nature, to death, and they do it with full consciousness.”, There are duets, too, like when the soldiers embrace and retreat — their chests smack hard yet their eye contact and the quick squeeze, a millisecond, just before parting reveals something about their faith in their profession and in each other.

So it was unexpected to see Lavant in “Beau Travail,” a 1999 film now being re-released in a 4K restoration, playing the repressed, button-down sergeant in the French Foreign Legion. The choreography of the group is as important as the landscape — Djibouti, in East Africa — which frames the men with the turquoise blue of the sea, the azure sky and the dusty earth. At this point in the film, about a group of French Foreign Legion soldiers, Galoup has been dismissed from military service — and just moments ago he did not seem to be dealing well. A battle built through tension: The stand-off duet between Gilles Sentain (Grégoire Colin), left, and Galoup (Mr. Lavant). The solo that ends Claire Denis’s film “Beau Travail” spotlights the repressed, tightly wound Sergeant Galoup in ways we have never seen him before: loose, relaxed, carefree. The soldiers in training resemble dancers limbering up. He sways his arms and spins again, but this time in the air. Quietly furious, Galoup begins punishing Sentain for obtaining what he wants, driving him harder and harder in ways that start to fracture the unit’s cohesion. Throughout the movie, loosely modeled on Melville’s “Billy Budd,” bodies, more than words, tell the story. Mr. Lavant, in a Criterion interview, said he viewed his dancing self as “a projection of who Galoup might wish to be.”, The decision to place the sequence at the end of the film came during the editing process.

“To love is to surrender.”.

.

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