At “Fuori Orario things (never) seen” the tribute to Bruno Dumont

A night dedicated to the great French director Bruno Dumont, entitled “This side of good and evil. Homage to Bruno Dumont”, curated by Roberto Turigliatto. It is proposed by “Out of Hours things (never) seen”, the nightly appointment with the arthouse cinema of Rai Cultura broadcast on Friday 14 June at 01.30 on Rai 3.
The tribute is made on the occasion of the release in Italy of the director’s new film, “The Empire”, jury prize at the last Berlin Film Festival, and in collaboration with the Bellaria Film Festival, where Dumont held the cinema, which was presented on the night, in which he spoke about his conception of cinema, his working methods and the recurring themes of his work.
During the episode, the first episode of one of the most original and eccentric series of recent years, “Coincoin Et Les Z’inhumains”, will be presented. Dumont extends Quinquin’s adventures in what he himself defined as the “second season” of “P’tit Quinquin”, venturing into the most extreme territories of comedy and burlesque and accentuating the nonsense and the absurd, which are never surprisingly separated from the tragic, from the presence of evil, from the mystery of the sacred. In a small village on the Opal Coast, Captain Van Der Weyden and his faithful assistant Carpentier investigate apparently inexplicable events: the “inhuman” invasion of extraterrestrials has begun, already a prelude to the one that will be seen unfolding unexpectedly in the new film, “The Empire”, where the forces of Good and Evil face each other on Earth, in a derisive parody of “Star Wars”.
In the second part of the night the film “Jeannette”, in which Dumont recounts the restless childhood of Joan of Arc inspired by Charles Péguy’s book, “Mystère de la charité de Jeanne d’Arc” from 1910, but updating it to the present, creating a pop-rock-metal musical, with the compositions of Igorrr and the choreography of Philippe Decouflé. The French director tackles one of the most iconic figures of the imagination, depicted several times in cinema, but focusing on the initial phase of her vocation. “The film talks – says Dumont – about how one becomes Joan of Arc. There is a normal girl but not completely, here the profane mixes with the sacred because the sacred is born from the profane. You film something ordinary and suddenly it becomes extraordinary It is the history of cinema, especially Italian cinema, of Pasolini or Rossellini, who filmed everyday life and showed how it was imbued with the sacred.”