Distant voices

Two things worth checking out in this week’s issue of the Village Voice:

1. J. Hoberman is back from hiatus and has written about Tim Burton’s soon-to-be-released-in-3D interpretation of “Alice in Wonderland.” I guess you’ll have to let me know how that one turns out.

2. Melissa Anderson interviews Catherine Breillat, who, as is her shtick, says some head-scratching stuff. Exhibit A:

In [“Bluebeard”], the consequences are dire for him, not for her. In the past, we’ve had stories like Eve, who takes the apple of knowledge and tempts Adam to bite into it. So she’s the one who’s guilty—she’s responsible. Here, it’s he who’s responsible. He’s the one who holds the tiny key out to her. As a very young girl, I was drawn to the image of the [murdered] wives hanging in the room—I love this image of the eternally fresh blood that was like a mirror under them. That, to me, is a vision of the eternity of women.

But not everything Breillat says is so morbid; indeed, some of it is sort of… heartwarming. Exhibit B:

[My sister and I are] very close in age, separated by only 13 months, so we always loved each other, but we also hated each other passionately. My sister never wanted me to deal with the subject of sisters in my films, and I respected that up until Fat Girl. And though she didn’t see the film, it made her furious with me, and we had a rupture as a result. When it came time to make Bluebeard, I figured I didn’t have to pull any punches and I could kill her off, since we weren’t on speaking terms anyway. [Laughs.] But she saw the film, and, oddly enough, we’ve reconciled.

The power of cinema, etc., etc.


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