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Bruno Dumont

Birthday: 1958-03-14 Place of Birth: Bailleul, France
Synopsis

From Wikipedia, the free encyclopedia. Bruno Dumont (born 1958, Bailleul, France) is a French film director. To date, he has directed ten feature films, all of which border somewhere between realistic drama and the avant-garde. His films have won several awards at the Cannes Film Festival. Two of Dumont's films have won the Grand Prix award: both L'Humanité (1999) and Flandres (2006). Dumont's Hadewijch won the 2009 Prize of the International Critics (FIPRESCI Prize) for Special Presentation at the Toronto Film Festival, and will be distributed in France in 2009, and by IFC in the U.S. in 2010. Dumont has a background of Greek and German (Western) philosophy, and of corporate video. His films often show the ugliness of extreme violence and provocative sexual behavior, and are usually classified as art films. Dumont has himself likened his films to visual arts, and he typically uses long takes, close-ups of people's bodies, and story lines involving extreme emotions. Dumont does not write traditional scripts for his films. Instead, he writes complete novels which are then the basis for his filmmaking. He says that some of his favorite filmmakers are Stanley Kubrick, Ingmar Bergman, Pier Paolo Pasolini, Roberto Rossellini, and Abbas Kiarostami. He is frequently considered an artistic heir to Robert Bresson. His work has been associated with the New French Extremity. His film Outside Satan premiered in the Un Certain Regard section at the 2011 Cannes Film Festival. Description above from the Wikipedia article Bruno Dumont, licensed under CC-BY-SA, full list of contributors on Wikipedia.​

Acting

Sibérie
as    Self
Filmed entirely by Preiss and her then lover, Dumont, mostly in the claustrophobia of a train car on the Trans-Siberian Railway, Siberia is an intense and raw observation of a relationship’s denouement. With unflinching honesty and a Direct Cinema approach, Preiss’s documentary is a fascinating psychological exploration of love, dependency, and the bounds of romantic privacy.
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