Hailed as an heir to Robert Bresson after his 1997 feature debut The Life of Jesus and the austere, oft brutal works that followed, Bruno Dumont pulled one of the most startling quick-change acts in recent film history with his 2014 miniseries L’il Quinquin, a murder mystery spoof that announced his departure onto a new path of comic experimentation. This selection captures Dumont at his crucial pivot point, bringing together the apotheosis of his anguished dramas of spiritual crisis (Camille Claudel 1915) and two works that exemplify his shift from the sublime to the ridiculous, and his reinvention in a burst of rude, raucous laughter.
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