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I alluded to this trend in a recent review, but James Quandt has written a 4-page analysis of the grotesquerie of recent French films:

... When Bruno Dumont, once championed as the standard-bearer of a revival of humanism — indeed, of classic neorealism — in French cinema, capitulates to this inimical approach, one begins to suspect a deeper impulse at work: a narcissistic response to the collapse of ideology in a society traditionally defined by political polarity and theoretical certitude, perhaps. The authentic, liberating outrage — political, social, sexual — that fueled such apocalyptic visions as Sal? and Weekend now seems impossible, replaced by an aggressiveness that is really a grandiose form of passivity.

(Via GreenCine Daily.)

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