Denis Villeneuve's Enemy (2013)

(At the time of writing I've seen five films directed by the Québéquois Denis Villeneuve, and although they are all different from each other they all involve similar plot elements: an incident triggering existential crisis, and a change of psychic state at or towards the end. For this reason I include this paragraph in parenthesis in each of my comments on the five films.)

Denis Villeneuve's first English language feature. Although I found this film complex and at times enthralling, I didn't see that it in any way came close to the brilliance of Incendies: it seems far too concerned with its own importance, too eager to come within the scope of David Lynch, and not as inventive as Maelström, to which Villeneuve himself has compared it. We have two Jake Gyllenhaals with slightly different names but who appear to be identical twins apart from their rather different personalities (and a ring mark on the finger). This is a film of quest, of lust, of hatred, fascination, and a fatal car crash. Or is it about one person with a split personality? And what does the spider have to say about this? What would it have said if it were a fish?

Denis Villeneuve's Incendies (2010)

(At the time of writing I've seen five films directed by the Québéquois Denis Villeneuve, and although they are all different from each other they all involve similar plot elements: an incident triggering existential crisis, and a change of psychic state at or towards the end. For this reason I include this paragraph in parenthesis in each of my comments on the five films.)

Incendies has a highly complex plot, which I'm not even going to begin to explain: suffice to say that a lawyer, whose former secretary has just died, reveals the contents of the mother's will and gives a letter each to the son and daughter: one to be given to the mother's husband, and the other to their brother. The problem is that neither son nor daughter knew that they had a living father, or that they had another brother at all. This is an at times violent film in which we see the quest of a mother for a son, and then the quest of a daughter (later a son too) for a brother. It's also a story of torture and rape, of unknown incest, where a torturer becomes a father to twins: the son and the daughter. By far the best Denis Villeneuve film I've seen.

Denis Villeneuve's Polytechnique (2009)

Polytechnique, Denis Villeneuve's third feature, is in black and white and is a recreation of the massacre in Montréal twenty years before of fourteen young women at the École Polytechnique by the crazed twenty-five-year-old misogynist Marc Lépine. The murders followed a series of feminist triumphs in Canada, and Lépine initially aimed his semi-automatic rifle at the student females in engineering, those his twisted mind considered to be detested feminists, although he opened fire on any female (or even male) who came across his path towards the end of his bloody spree. His mercy was to kill himself too.

But this recreation is achieved with great respect for anyone (or anyone's relatives) who may have been concerned here, and the characters are fictional. Valérie (Karine Vanasse) and the young man 'J-F' (Sébastien Huberdeau) so traumatised by the massacre that he kills himself as a result of survivor guilt are invented characters, and the killer – whose suicide note is partly read verbatim from the original – isn't even named.

Denis Villeneuve's Maelström (2000)

(At the time of writing I've seen five films directed by the Québéquois Denis Villeneuve, and although they are all different from each other they all involve similar plot elements: an incident triggering existential crisis, and a change of psychic state at or towards the end. For this reason I include this paragraph in parenthesis in each of my comments on the five films.)

Maelström, Denis Villeneuve's second feature, takes us into weirder territory to his début Un 32 août sur terre, if only because the occasional narrator is a fish on a slab about to be decapitated: not to worry, this narration is only occasional. But here we have Bibiane (Marie-Josée Croze) not only going through traumas to start with, but then becoming a hit-and-run driver as she accidentally kills a man when driving drunk. She learns the next day that the man is dead, attends his funeral and meets his son Evian (Jean-Nicolas Verreault). She lies about how she came to know the man she's killed, and inevitably (this may be weird cinema but it's still cinema) they become lovers. A car trip leads to a guilt trip, leads to, well, who knows? A man is in love with the woman who killed his father, is what.

Denis Villeneuve's Un 32 août sur terre | August 32nd on Earth (1998)

(At the time of writing I've seen five films directed by the Québéquois Denis Villeneuve, and although they are all different from each other they all involve similar plot elements: an incident triggering existential crisis, and a change of psychic state at or towards the end. For this reason I include this paragraph in parenthesis in each of my comments on the five films.)

Simone (Pascale Bussières) loses control of her car as sleep overcomes her. She survives remarkably well physically, although mentally she's changed: she now wants to have a child by her platonic best friend Philippe, who's in a four-month relationship and is alarmed by Simone's wishes. But he agrees to perform the act if they're in the desert. However, an episode in Utah proves fruitless, and the problem is that Philippe is in love with Simone, which she only discovers when it's perhaps too late, when Philippe is in a coma after mindlessly being beaten up.

Rémy Belvaux's C'est arrivé près de chez vous | Man Bites Dog (1992)

Rémy Belvaux's C'est arrivé près de chez vous (which is rather sensationally translated as Man Bites Dog) is a brilliant but much misunderstood first feature: certainly it is overlong and repetitive, but it can hardly be accused of gratuitous violence because that is the whole point. This film is essentially a profound criticism of, and satire on, the media's approach to violence, the fact that the media wallows in violence in order to capture its audience, to make more money. This is a mockumentary starring casual serial killer Ben (Benoît Poelvoorde), who is followed all the time by Belvaux and André Bonzel, with all of them more or less carrying their own first names.

As the film continues, the two members of the crew (at first distant) become increasingly involved in Ben's murders: they even gang rape one of his victims before him, and help him dispose of his bodies, which he weighs down with concrete ballast so they won't float to the surface. (This activity is symbolised at one point when Ben is drinking with the other two, when he plays a game with them in a bar, in which he submerges an olive attached to a sugar cube in each of their drinks and the loser, whose olive floats to the surface first, has to buy the next round. He calls the game 'le petit Grégory', referring to the (still unsolved) murder of the fifteen-year-old Grégory Villemin in 1984, whose body was fished out of the Valogne. I learn that 'le petit Grégory' is translated by the expression 'Dead Little Boy'! Great film, but terrible sub-titling.

Pierre Perret and Yvonne de Gaulle

I include a shot here of Yvonne de Gaulle as in the sculpture in Calais by Elizabeth Cibot but without her husband as it's not my style to photograph prominent political figures. Rather, I'm more interested in the forgotten, the hidden, the obscure, the middle finger. In September 2020 Europe 1 interviewed the singer Pierre Perret (then 86) and he said a few words about Yvonne in 1966, when she had attempted to ban one of his songs about summer camps, 'Les jolies colonies de vacances', from the airwaves by calling her friend Roland Dhordain, the director of ORTF. Her problem (although she used the word 'nous', implicating the Général himself), was that the expression 'pipi dans le lavabo' ('peeing (probably best translated as 'weeing' in 1966) in the sink') was in the song. Dhordain still, according to Perret, included it in the playlist, and the song was certainly a huge success and went on to sell 200,000 copies: in effect, a huge 'Up yours' to Yvonne de Gaulle, who surely needed to get a life! Pierre Perret was delighted that Yvonne had honoured him in such a way, calling him 'the shame of France'.

Le Dragon de Calais in Calais (62), Pas-de-Calais (62)

As I stated last year when I first saw Le Dragon de Calais, which wasn't at the time operational because this was just a day before lockdown in March 2020, François Delarozière is the artistic director of the company La Machine, and is particularly known for Machines de l'île de Nantes. But today, as we walked towards the promenade we could see indications that there was about to be something happening, so we waited. And the wait paid off because the dragon soon emerged from its home and went for a walk, roaring, smoking from the nostrils, occasionally breathing fire and pissing water from its tail at the enthusiasic crowd. Not being a person for rides, I nevertheless checked the price on the website: €9.50 for an hour*, but then this is France: imagine what inflated prices the National Trust would charge if this were within their field!

*The original time mentioned has been altered following the very welcome comment by La Compagnie du Dragon below: I wasn't looking at my watch!

Jean Raphael (Georges Lafaix) in Dormans (51), Marne (51)

Georges Lafaix (better known as Jean Raphael) (1916-2006) was born in Orléans and died in Dormans, where he is buried. He was brought up in poverty by his grandparents and began his working life at thirteen as a house painter, although his main interest was in music: he used to frequent the dances and cafés in Rue de Lappe, Montmartre. He changed his name and became a noted 'chanteur de charme', initially adopting the style of Tino Rossi and Reda Caire, specialising in the tango. He wrote the words of some of his own songs, such as 'Le Chanteur de nos souvenirs', 'Viva, viva Napoli', and 'Paris sans toi'. 

Jules Crochet in Mareuil-le-Port (51), Marne (51)

Jules Crochet (1902-72*) was born in Dormans, died in Tinqueux near Reims, and was a pioneer of medical aviation. In the 1930s he carried out medical missions in Africa for the French government. A roundabout in Reims was named after him in 1997.

*Wikipédia at the time of writing gives the date of his death as 1974, which clashes with the date of the plaque on his family vault.

Phare in Verzenay (51), Marne (51)

In order to advertise his brand of champagne, in 1909 Joseph Goulet built a lighthouse on a hill in Verzenay, right in the centre of champagne vineyards. There was a restaurant and theatre in adjacent buildings, and the place became a meeting spot for Rémois (people from Reims) and Sparnaciens (people from Épernay): then, access was facilitated by the CBR (Compagnie des Chemins de Fer within the Reims community), a railway company which no longer exists. The lighthouse was used as an observation post during World War II, but for many years after was left to go to ruin. It was bought by the commune in 1987, and in 1994 steps were taken to create an écomusée which was opened in 1999. This is advertised on their website as open every day, although we saw no signs of life at the time of our visit. But the view! Who needs to climb the lighthouse?

Pierre Fourny and La poésie à 2 mi-mots, Fère-en-Tardenois (02), Aisne (02)

At the gates on the mairie is what appears to be a letter box, although beneath it is a kind of explanatory plaque. Although the plaque confuses more than it explains, which is perhaps the intention. But the group ALIS (Association Lieux Images et Sons) in Fère-en-Tardenois, founded in 1982 by Pierre Fourny (unmentioned on the plaque) gave the 'letter box' to the town on 17 November 2001: Fère-en-Tardenois becomes the world capital of La poésie à 2 mi-mots. But what exactly does the expression mean?

Pierre Fourny invented La poésie à 2 mi-mots at the beginning of this century, and it has a great resemblance to an original Oulipian constraint. In fact the 'letter box' itself is an example of this poetry, which in the words of Fourny 'est un procédé d'une simplicité désarmante : il consiste simplement à couper les mots d'un trait horizontal. Chacune des deux moitiés de mots obtenues est contenue dans un autre mot, ou plusieurs autres mots': in other words it is an amazingly simple procedure in which words are cut across by a horizontal line. The two halves of the words contain another word or other words. In the example here, the word ECRITES appropriately produces LETTRES, or vice versa. It does of course depend on where you make the cut.

Halle aux Grains, Fère-en-Tardenois (02), Aisne (02)

An inside shot of the seventeenth century covered grain market in Fère-en-Tardenois, built by Madeleine de Savoie, the wife of Anne de Montmorency. In 1917 and 1918 it served as an hôpital militaire.

Château ruins, Fère-en-Tardenois (02), Aisne (02)

I don't normally deal much with castles, particularly as there are so many in France, but this one is rather special. The château ruins a few kilometres from Fère-en-Tardenois are of an old fort built in the thirteenth century. The ruins stand on a mainly artifical mound, and the seven-towered building took over fifty years to construct. But perhaps the most notable thing about this structure in general is the sixty-metre fortified Renaissance bridge leading to the entrance to the château and its septagonal courtyard (to which at the time of writing there is no access).

The view along the bridge looking towards the château courtyard.

Boîte à lire, Fère-en-Tardenois (02), Aisne (02)

This small boîte à lire is in front of the mairie in Fère-en-Tardenois. As for Fère-en-Tardenois being the Capitale mondiale de la poésie à 2 mi-mots, I'll look into that tomorrow.

Marcel Dhièvre in Saint-Dizier (52), Haute-Marne (52)

Au Petit Paris was originally a small shop run by Marcel Dhièvre (1898-1977) and his second wife Constance. It was on meeting an Italian painter-decorator named Radici that his imagination was changed, and after World War II, when Marcel and his wife came to live at 478 Ave de la République, in La Noue district of the town, that he began a task that was to last for at least thirty years: decorating his house, transforming it into the art brut showpiece that it now is. The prominent frontal view of the Tour Eiffel and the Arc de Triomphe are testimony to his many trips to Paris to purchase merchandise for the shop. For his art, children in the neighbourhood helped him to collect 'rubbish' from local dumps, bits of broken crockery, pieces of glass, etc. The media became interested in his work in the seventies, although after his death the house began to fall into decay. However, in 1984 the house was declared a 'monument historique', in 1994 Katie Couprie bought the house and began reparations, and since 2018 it has become a 'Bar culturel'. The first image is of the front page of the sixteen-page booklet Il était une fois...au Petit Paris, published by L'Association Au Petit Paris.