Why is there a need to grapple with what the bowels of an "endless night" might resemble, and what is my curiosity in watching? Sombre is a valiant affront, a molecular vision of hell. Disturbing doesn't do it justice, but at least its atrocities are unpalatable - the real reason to watch is for the way its images and sounds depict the maelstrom of a mind which sees purity as a threat to its condition. 3.5
Darkness all encompassing, suffocating, but not constrictive. This grants life on PG's screen its greatest gift: lack of boundary. Lines blurred, borders ripped from the screen- nothing stops impending doom from probing in/out like a strobe light. Its anywhere and everywhere & focus is only when man chooses to tighten his grip on a poor soul wandering in his path. Light isnt restricted from entering; it dares not to.
Grandrieux: "The darkness is a possibility that something appears. You couldn’t see exactly what it is, and the difficulty to see is a strong link [...]. For me, it’s an access, also, the darkness, to the shape, to the form and to the story." My interview with Grandrieux: http://specchioscuro.it/interview-philippe-grandrieux-intervista-grandrieux/
High concept: Alan Vega and a killer on the road. The film I had been waiting for my whole life. Be careful of fantasies. They can come true. It hollows me out. I don't always feel good about what makes me feel good (or not?). Here's the thing: Grandrieux is an explorer with form. He invents phantom textures. Also: of all the many, many artists to ever compare vaginas to the void ... he does it best.
Accused of misogyny. Pff. The clue for me is in the final sequence shot: some men cannot be part of the system also trying in vain to get in. Grandrieux is master in express it with an extensive framing work; the camera gasps and trembles processing Jean's unpredictable yet self-distructive system, vice versa it dilates and relaxes in the surrouding placid indifference.
Boring as a film, desperate and lazy as an addition to the New French Extremity genre, and ineffective as art. This film relied on mindless violence, which isn't even portrayed as graphically as it could, and nauseating camerawork to pass itself off as anything but the boring pseudo-art-horror film that it is. No character development, no logical transitions in story, and no depth.
"Sombre" parte de la conocida dialéctica sobre amantes de naturalezas opuestas, aunque ambos coincidiendo por su represión sexual: los son dos vírgenes e inexpertos. En su transcurso, una serie de disparos experimentales con poca relación en la trama más que por la personalidad perturbada del protagonista. Pura presunción.
as uncomfortable as i am with calling a film about a serial rapist/murder "impressionistic," that's really the way to describe it. grandrieux sets aside the moral histrionics, moneyshots and audience manipulation that usually attends "shock cinema" in favor of something peculiar and potent. <i>sombre</i> aestheticizes awful acts, but the lens it uses to do so is unlike all others. essential, if you can stomach it.