User reviews

The only other Bruno Dumont film I've seen is the bizarre and shocking Twentynine Palms so knowing Camille Claudel 1915 is about an insane asylum, it's difficult to not expect something that will rock me to my core. However, Camille is surprisingly restrained. While this feels like a mature approach at times, it can too often feel like it's too weak on its themes of religion, sanity and art when there's such potential. A little more focus and clarity could've saved what would be a great film. What ends up making the film is Juliette Binoche's committed performance that provides a unique perspective into a personal hell. She certainly deserves to be called one of the best actresses of all-time and this just confirms it further. It's beautifully shot and constructed, but then this leads to it feeling too measured and thus too forced when it could've been much better if it was allowed to breathe naturally. It's a very interesting film, but I can't help that it needn't been as empty as it was.

7/10

Camille Claudel (Juliette Binoche) was born in 1864. She was a sculptress and also Rodin's mistress for 15 years. She became a recluse after breaking up with him. With the death of her father in 1913, her family confines her to Montdevergues Asylum near Avignon in 1915. She is paranoid about being poisoned, fears persecution from Rodin and thinks her family is greedy for her inheritance.

There is a lot of waiting for something to happen. It's funny that Camille claims that they're trying to bore her to death. The movie gets that point across very well. Juliette Binoche is amazing. The scene where she lays out all of her persecutions to her doctor is electric. However, it's only one scene and one great actress. It's not more than that.

Bruno Dumont's film is best appreciated if the viewer has viewed Bruno Nuytten's 1988 film "Camille Claudel" which ends with Camille being institutionalized by her brother Paul and her mother. That act can be initially condoned as Camille needed treatment at that time. Dumont's film is based surprisingly on the letters of Paul Claudel.

In Dumont's film too, Paul does not heed the doctor's view that Camille is a docile and almost normal and could be discharged. For those who have seen Nuytten's film, there is sufficient evidence that brother and sister had been very close to each other and Paul had tried to make his sister's work famous. All these critical facts are never stated in Dumont's film. The religious fervour of Camille in Dumont's film is totally absent in Nuytten's film. The long religious soliloquys of Paul, fits in with Dumont's interest in religion. For me, Dumont's attempts at describing Camille in the asylum is merely projecting Paul's attempt at absolving his decision not to help release his sister from the asylum.

Binoche is always good in any film but this performance is not her best--which I am convinced was the one in "Certified Copy."

I wanted to leave this screening about halfway through, but not because it was a terrible film. On the contrary, it was because Dumont's impeccably observed production evokes the same sense of claustrophobia experienced by its titular character, who is yearning for release from the asylum to which she had been committed by her family.

For most of the film's duration, neither Camille nor the audience are entirely clear about why she was incarcerated, or at least, why she remains so. What little back story we are given is relayed principally by Camille herself, and in a manner that suggests more eccentricity than madness. I had not read up on Claudel prior to seeing this film, but having done so since, I absolutely endorse Dumont's rendering.

The direction is unhurried and the dialogue minimal. Long takes abound, soundtracked by repetitive noises like echoing footsteps, the crunching of gravel, and, most disconcertingly, the infantile howling of the asylum's residents. The sense of place and aesthetic is intelligently realised, and for all its oppressive qualities, this film is a beautiful thing to look at.

As Camille, Binoche shines like the genuine star she is - a genius artist playing a genius artist. The occasional closeup (and there are many) may reveal a composure running one or two shades too deep for this character, however whenever our heroine cracks, Binoche exemplifies her mastery at bridling and channeling female psychology. The other figure in the narrative equation - Camille's brother Paul - is played by Vincent in turns both tender and oblique.

Thematically, Dumont does not preach, but tantalisingly throws juxtaposition after juxtaposition before us, inviting manifold readings.

Rather than write a critical analysis here, it will suffice to say that there is much to be gleaned from this film, notwithstanding biography.

8.5/10

Juliette Binoche and a cast of mental patients. What could possibly go wrong? And the answer is: nothing. This film is practically flawless from start to finish. I'll forewarn you by saying you mustn't expect a biographical story relating the turbulent life of sculptor Camille Claudel. For that, you might want to check out the 1988 film "Camille Claudel" starring Isabelle Adjani.

"Camille Claudel 1915" is, as director Bruno Dumont says, "a film about someone who spends her time doing not much". In other words, this won't give you the saucy, dramatic story of Camille's affair with her mentor Rodin, nor will it attempt to explain what her "mental illness" was, and very few clues are given as to why she ends up at a mental asylum to begin with. Perhaps even more noticeable is the fact that none of Camille's art is shown or alluded to. This movie, quiet but moving, is simply about 3 days in the life of Camille as she copes with an artist's worst torture: boredom.

Camille is excellently played by Juliette Binoche who describes this film as "mostly silent with only two or three moments with a lot of speaking, as if all the words she hadn't been able to say come out in a rush, all at once." Indeed, she doesn't say a word for almost the first 10 minutes. But through the use of extreme, unsettling closeups, and some painfully telling facial expressions, the film conveys almost everything we need to know without words. When Juliette does open her mouth to deliver her monologues, they are absolutely riveting, emotional and affecting. It should be noted that many of her lines were improvised, having only 4 pages of script to work with. Dumont simply asked her to fill in the blanks.

Similarly improvised were all the roles of the mental patients around her. These were actual mental patients (attended by actual nurses dressed as nuns). The patients were never told what to do or how to "act". Instead Dumont wanted to capture the true environment of a mental institution which he felt is the same story 100 years ago as it is today. If Dumont needed a certain reaction or expression from a patient, for example an intense look of pensiveness, he would give the patient a piece of scotch tape to play with and film the patient's reaction. This all makes for very genuine cinema, the kind you could never get from SAG card-carrying actors.

Thus, don't expect a lot of dramatic scenes of patients being tortured by their sadistic keepers à la "One Flew Over the Cuckoo's Nest". Here instead is a very realistic image of a mental institution where people are cared for, and it's simply their condition of idleness and lassitude which is the torture. That itself conveys more hopelessness than if we were to see Nurse Ratched administering shock therapy.

Excellent cinematography and stunningly gorgeous locations round out this film. I don't recall hearing any music, and there are certainly no car chases and shootouts. No fancy camera tricks; in fact most of the takes are very long and still, allowing the images and actors to tell the story. I would compare this movie to other laconic, beautifully-shot films like "The Spirit of the Beehive" (1973) or some of Herzog's early work.

Camille Claudel was a successful artist who had an affair with Rodin. She had mental health problems and was placed in an asylum by her family. Whether this was intended to resolve Camille's problem or remove Camille as a problem is left for debate.

The film tells the story of her life in the asylum, her desire to leave and her unhappiness. We gain an insight into the artist's mind and the world of the asylum. Juliet Binoche's acting is excellent and the use of patients and staff from an asylum works well although is potentially controversial.

However, the film is slow and is too long for the little is actually revealed in 95 minutes of screen time. More back story and context is needed to provide reasons for sympathising with the main character and sticking with the film.

Nominated for the Golden Bear at Berlin, Camille Claudel, 1915, the latest film by French auteur Bruno Dumont, is arguably his best realized and most accessible work since La Vie de Jesus and L'humanité in the late 1990s. Juliet Binoche delivers a masterful performance as sculptor and graphic artist Camille Claudel, mistress of Auguste Rodin, who was confined to an asylum at Montdevergues near Avignon in 1914 after an emotional collapse. Derived from Camille's medical records and private letters to her brother, poet and staunch Catholic Paul Claudel (Jean-Luc Vincent), the film takes place over a period of three days in the asylum where we experience the oppressive nature of Camille's routines, lightened only by the inmates attempt at performing the play Don Juan.

Although Dumont uses mentally-disabled patients and their nurses as actors, there is no hint of exploitation and they are only used to draw a sharp contrast between Camille and the seriously ill. Considered to be a great but unrecognized feminist artist (usually only discussed in relation to Rodin), Camille is filled with despair and depression at her confinement but looks forward with anticipation to the impending visit from Paul. Though much of the film has a strong impact, the sequences in which Camille pleads with her doctor (Robert Leroy) and with Paul for her release reach the heights of Dumont's consummate artistry.

In spite of the fact, however, that the head doctor feels she could be re-integrated into society, her mother and self-absorbed brother ignore her pleas and refuse to relinquish their tight control. Though Camille's paranoia is evident in these scenes (she insists on preparing her own food for fear of being poisoned), the power of Ms. Binoche's performance allows Camille's intelligence and true stature as an artist to shine through. Austere and unforgiving in the mold of Alain Cavalier's Therese, Camille Claudel, 1915 can be compared to the films of Robert Bresson in its long silences, spiritual depth, and uncompromising integrity. Viewing can be a harrowing and uncomfortable experience, but the same can also be said about many great works of art.

Camille, Camille; even after death you are still persecuted.

Not content with that miserable '80s film abut Claudel, yet again the film biz drags over the ashes of her life to create a film that is built on empathy for a victim to disguise the lack of anything like a story in a narcissistic vehicle for an actress. The sum is a film which exhausts the patience within thirty minutes, but which, however improbably, seems to satisfy mawkish sentiments that revel in this mediocrity, presumably and largely, because it is set in France.

From a technical narrative view there is a complete failure to do anything with the shreds of material which might have constituted a viable story. The other major fault is that cinema is a feeble medium to convey the type of material that the producers wished to convey.

The entire project has an unseemly and invasive quality which is meretricious and vain. It's sensibility might be called pornographic.

My high respect for Juliette Binoche's technique and talent has been bolstered by watching her performance as Camille Claudel in this film. The film itself presents a stunning vision of mental illness and its treatment in the age prior to advanced psychotropic drugs. I am a registered nurse and worked for ten years with very symptomatic psychiatric patients in hospital. Ms. Binoche's subtle performance captures the painful boredom of confinement, both physical and mental. Confined mentally by her anxiety and paranoia, Camille is sealed off from satisfying human contact with the sane, while being tortured by the attentions and needs of those more disabled than herself. The well-meant attempts of nuns to engage her with those whom she fears come across as nearly sadistic. This subtlety marks the film as exceptional in my opinion. The appearance of the religiously fanatic and equally disturbed brother, Paul Claudel, who functions as her jailer, adds a feminist sensitivity to the film. Camille's powerlessness is largely feminine in her sexist world. The interplay between religion and confinement, physical and mental, is also brought to light through Paul Claudel's obsessive grandiosity as he converses with his god. Who are sane or insane? The depressed nuns? The grinning abbot? The pompously righteous brother? Camille hoping for release? No answers are given, in typically French fashion. But this film is well worth the time and reflection.

"There is something sadder to lose than life – the reason for living." Paul Claudel, poet, playwright, diplomat and younger brother of Camille.

Camille Claudel 1915 is not The King of Hearts, a lyrical 1966 drama about a WWII French asylum in a town about to be invaded by Nazis. Claudel is decidedly not lyrical except for its exceptionally artistic cinematography dominated by trees that look like sculptures and buildings ancient with secrets.

It's a somber but fascinating three-day narrative about artist Camille Claudel's confinement in a madhouse while she is awaiting her famous mystic-poet brother, Paul, to visit her.

Previous to 1915, Camille had been the student and lover of Auguste Rodin, the most famous French sculptor of his time and one of the greatest in the history of civilization. Her incarceration was due to her paranoia in general about his alleged plot to poison her and her schizophrenia, both reflected after breaking up with Rodin in her smashing her sculptures in her own studio.

This film deals little with Rodin but much with her brother, who refused her entreaties, and those of the mental hospital staff, to release her. His chilling visitation to her is redolent of his reliance on a mystical relation with God and certainty that she not be released to go home. The introductory quote suggests he may not have adhered to his own philosophy by ignoring the signs that she was sane and the reality of denying her a reason to live.

This stark film concentrates mostly on her lonely struggle to protect herself from the plot to poison her and her loss of her sculptures and tools. Her artistry is supplanted by boiling potatoes and avoiding crazed fellow inmates. She says in one of her letters, "Madhouses are houses made on purpose to cause suffering….I cannot stand any longer the screams of these creatures." The movie is static but intensely suggestive through the brilliant Binoche's expressions of wisdom and isolation.

It's not hard to sympathize with an artist robbed of her livelihood and family. That she may truly be schizophrenic and paranoid is always possible; however Binoche's humanity tips the scale in favor of Camille's sanity and the world's indifference. As a woman and an artist in the shadow of Rodin, she is doomed to second-class citizenship.

Camille will spend almost three decades without hope: "Sadder than to lose one's possessions is to lose one's hope." Paul Claudel

Bruno Dumont's "Camille Claudel 1915" is 2013's undiscovered masterpiece. The film is a perfect marriage of a director's austere vision and actress showcase with Juliette Binoche's raw, poetic portrayal of the great French sculptress, middle-aged and institutionalized in an asylum ran by nuns.

Paranoid over her once illicit relationship with famed sculpture Auguste Rodin (she insists she cook her own food out of fear of being poisoned), its painfully obvious that Claudel's shifty, manic (but still very conscious) mind has perhaps stymied her gift for good. In one remarkable scene, Camille picks up a patch of dirt with the thickness of clay, and hearing the birds chirp in a tree, she tries to sculpt a sparrow and the earth just slips through the cracks of her fingers. Binoche makes it heartbreaking.

Dumont has made his art-house rep blending the rigid formal constraints of his grand forefather Robert Bresson with elements of the French Extreme cinema that emerged in the late 90's. In his films like "29 Palms" and "Flanders", behavior, often savage, is there to be observed not explained, and psychology is to be revoked. In the end we have actions, not characters. Not true in "Camille Claudel 1915". Bresson is very much there, but there is a bit of a Bergman and a Dreyer influence as well in its seeming religious objectivity (Dumont proves an expert of the pained close-up). We become familiar with Camille's day to day existence on the inside and out, and sensitive toward those 'truly' mentally ill that surround her.

The compassion and care of the nuns in the asylum toward the inhabitants is contrary to the fundamentalist extremism of Camille's brother Paul, the man responsible for her imprisonment. The film's only shocking moment comes when he explains to the asylum's priest that he became a Christian after being inspired by the poetry of Rimbaud, as we know Rimbaud's life and art was far more blasphemous than Claudel's.

Although more accessible than his previous work, Dumont's film will bore many viewers. Nowhere is it entertaining in any traditional Americanized sense. But anyone whose already familiar with Dumont, anyone that's felt levitated by Dreyer, Bresson or Bergman, anyone whose been a fan of Binoche and her acting, will be moved by this film as I was.

Time and patience: Endure: Slowly for Camille Claudel.

Suffering: Thought into compassion: The spirit enlightens the Soul:

Our soul - Deep in thought of ourselves: To seek a divine spirit:

In answer.

A divine spirit...

Time has no answer: Only art: In expression: In confinement: Of Time.

....The beauty of this film is the portray of Camille Claudel in character of emotion ( played by Juliette Binoche ).... The truth...so far removed from her brother; the wooden brother - of whom - in betrayal of compassion, of false light-hood and prayer of self delusion....in wickedness of sham - in a shameful ignorance under ecclesiastical parody....

A triumph of film making -truly inspired....the beautiful Camille in self reflection of our own time. Outstanding - a kaleidoscopic mix of zen and compassion -God Bless the lady of past times, in kindness and patience of a beautiful soul -and to remember her life.

The film was allowed to be filmed in a sanatorium with a non-professional actors, some of whom are interned themselves, in the beauty of their own spirits of divine light; in imagination in deep thought of life; Simplicity of spirit, kindness unbound in companionship of love. There are no flash backs to Claudel's life, but there are -her words, her personal thoughts in an anguish of a happier time in a free life that was stolen from the lady...I highly recommend. Directed by Bruno Dumont.