Serge Bozon, the unclassifiable

Critic for “Traffic” and “The Letter of the filmmaker”, film director, screenwriter, actor, film authors French super-perched, also dj mixing the Beach Boys and the music garage of the 80’s at festivals moviegoers as Geneva or Belfort, Serge Bozon has anything to divert, to amuse, but also fascinate. If he puts on a pedestal the stage directors such as Jean-Claude Biette, Jean-Claude Guiguet, Paul Vecchiali, or Marie-Claude Treilhou, a cinema, who does not fear the ridiculous, which vindicates the song, the non-game and the eccentricity, deliberate, does not belong to the final only to him ; a cinema scene rather than a scenario such as was another of his masters, an american of him, namely Howard Hawks. In reading the script of “Tip Top” (2013), the belgian François Damiens declared not even to have “understood nothing”.

The above extract, taken from the movie “Mods” (2003), reveal themselves to be crazy and says, for example, the entire singularity of this film : frontal plane, characters who talk to each other without looking, banalities uttered a voice invariably monotonous. It is amazing but also pleased that someone, in the context of the film as “author” in French so timid and so predictable, dare daring, such, dare to go so against the tide of naturalism, whose award-winning films to Caesar are usually revel in.

Also an actor, Boron defends the films that come closer to a few of his films that go against the modes, chapels, schools, or visiting genres snobés, such as the fantastic “The days where I don’t exist” by Jean-Charles Fitoussi (2003) or “Two-Rémi two” by Pierre Léon (2015). His next feature film as a director, “Ms. Hyde,” with Isabelle Huppert, Romain Duris and José Garcia, produced by les Films Pelléas (2017), is also a fantastic film.

Otherwise, it is absolutely delicious in “I feel the beat rising in me” by Yann Le Quellec (2012), little gem musical in which two characters – a tourist guide and a driver live in two musical worlds at the antipodes, and, therefore, in two worlds diametrically different, it is the classical music, the rock. Yann Kernabon has done a very good analysis of the opening quite funny in the film, we invite you to discover here.

In 2016, we can see that in the exciting “Sleeping beauty”, a new adaptation of the famous tale by Ado’arrietta in which he plays alongside Niels Schneider, Agathe Bonitzer and Mathieu Amalric, but also, therefore, “Mrs. Hyde,” based on the novel of Stevenson, and of which he has signed the script with his co-writer usual, Axelle Ropert.

It is mainly a figure, and it is for this that he and all the group of filmmakers of the “La Lettre du Cinéma” defend so much Rohmer *, represents an immense freedom : freedom to create, freedom to carry on several trades at once, with a mixture quite attractive of flippancy and seriousness. You can find his movies funny, or even inept, but for this, for this freedom fiercely defended, for this reason alone : vive Serge Bozon !

* whose “group” consists of principles (shooting in film, in real places, not recreated in Paris, long “sandwiches” of dialogues written in a style very literary, etc.).


Matthias Turcaud

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