CoinCoin, formerly known as Li’l Quinquin in Bruno Dumont’s film of the same title, is back in CoinCoin and the Extra-Humans (CoinCoin et les Z’inhumains). His name change, like the various physical and learning disabilities of the actors playing citizens of Dumont’s native Côte d’Opale, goes unexplained. It’s simply part of the story. If you’ve seen Li’l Quinquin, you know details like gendarme Van Der Weyden’s (Bernard Pruvost) Tourettes-twitching is constant, used for comedic effect, and as Dumont told the Guardian, “You have to decide whether or not you’re looking at something that disturbs you.”
Like Li’l Quinquin, CoinCoin was made for Franco-German network Arte. Both were broken into four parts for television but screened as one film at festivals. CoinCoin stands alone in many ways, but to understand the last thirty, delightful minutes of the story, you’ll need to see Quinquin first.
Like Li’l Quinquin, CoinCoin was made for Franco-German network Arte. Both were broken into four parts for television but screened as one film at festivals. CoinCoin stands alone in many ways, but to understand the last thirty, delightful minutes of the story, you’ll need to see Quinquin first.
- 3/2/2019
- by The Film Stage
- The Film Stage
Life of Quinquin: Dumont’s Foray into Miniseries Format Filled with His Brand of Peculiar Humor
Provocative auteur Bruno Dumont lets loose his comedic side with a four part miniseries, Li’l Quinquin, shown as one long piece at the Cannes Film Festival. While it apparently will be released in English speaking territories in the same fashion, its purposeful structure does make it seem better served to be viewed in more than one sitting, where its bizarre weirdness has a better chance of really sinking in. But one has to remember that we’re talking about Dumont here, the director who grapples with existential ennui usually through the lens of religious discord or the bleak isolation of rural settings. So the project is indeed the most comedic offering of the director’s oeuvre, following last year’s captivating look at sculptor Camille Claudel starring Juliette Binoche. Yet it’s not...
Provocative auteur Bruno Dumont lets loose his comedic side with a four part miniseries, Li’l Quinquin, shown as one long piece at the Cannes Film Festival. While it apparently will be released in English speaking territories in the same fashion, its purposeful structure does make it seem better served to be viewed in more than one sitting, where its bizarre weirdness has a better chance of really sinking in. But one has to remember that we’re talking about Dumont here, the director who grapples with existential ennui usually through the lens of religious discord or the bleak isolation of rural settings. So the project is indeed the most comedic offering of the director’s oeuvre, following last year’s captivating look at sculptor Camille Claudel starring Juliette Binoche. Yet it’s not...
- 1/1/2015
- by Nicholas Bell
- IONCINEMA.com
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