By Michael Atkinson
From Amazon: "For many, Blue Velvet is David Lynch's masterpiece. It crystallises a lot of his leader preoccupations: the evil and violence underlying the outside of suburbia, the seedy by-ways of sexuality, the scary visual appeal of the grownup global to a child's eyes. during this tricky and layered examining of the movie, Michael Atkinson analyses Blue Velvet because the definitive expression of the traumatized innocence which characterizes Lynch's work." Michael Atkinson teaches movie at manhattan college, and writes feedback for movie remark and the Village Voice.
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Additional info for Blue Velvet (BFI Modern Classics)
In 1994 Ozon graduated from the Fémis school and began his ongoing, faithful relationship with Fidélité Productions’ Olivier Delbosc (whom Ozon met at the Fémis) and Marc Missonnier, who financed or cofinanced the majority of his fiction films, short and full-length, from 1994 to 2007. “Bulimic” as ever, Ozon manufactured more short-length films at the steady pace of two or three a year. Most of the pieces made during that period were presented at national and international film festivals, amassed countless prizes, and some were shown on French television.
A single shot,” Bonnaud argues: “This damned shot in See the Sea shows a young woman [Sasha] brushing her teeth. So? What’s the problem? . This shot unforgivably diminishes the sense of mystery that the film has painstakingly constructed” (53). If some critics have been equally bothered by this scatological reference in Regarde la mer (see Gorin, “Regarde”), a proof that cinema can still be genuinely shocking more than a hundred years after its invention, others have either seen it as part of the logic of the narrative or rejected its provocative value and read it as a Bataillan reference (Goudet, “Projections scandaleuses” 58).
Ozon pointed out a strong connection between the two films: “Free from the Law, the Father, and the adult world, [Une robe d’été] was made against La petite mort. But also thanks to it: I needed to make a film completely rooted in transgression and guilt before making this liberating film” (Ozon, “Entretiens Courts”). La petite mort follows a taciturn, emotionally unavailable young gay photographer named (yet again) Paul (François Delaive) who is forced to interrupt his latest artistic project and confront his painful past.