Running time175 minutesCountryFranceLanguageFrenchBox office$23.7 millionCamille Claudel is a 1988 French film about the life of the 19th century. The movie was based on the book by Reine-Marie Paris, granddaughter of Camille's brother, the. It was directed by, co-produced by, and starred her. The film had a total of 2,717,136 admissions in France. Adjani earned a nomination for for her role, the second time in her career she was so honored and the first time a French actress was nominated for the Best Actress Oscar twice. (1863). (1871).
Camille Claudel 1915 (2013) - full transcript. Winter, 1915. Confined by her family to an asylum in the South of France - where she will never sculpt again - the chronicle of Camille Claudel's reclusive life, as she waits for a visit from her brother, Paul Claudel.
(1872–73). (1876). (1877–78). (1879). (1880). (1880). (1880/1917).
(1880,. (1880–81). (1881).
(1880–1882). (1880/1907).
(1881). (1882). (1882). (1882). (1883). (1883). (1883).
![Camille Camille](http://images.artparks.co.uk/sculpture/big_img/sculpture_artwork_helle_rask_crawford_the_cockerel_1.jpg)
(1884). (c. 1884). (1884–1889).
(1884/1911). (1885). (1885). (1885). (1885).
(1885–86). (1885–86). (1885–86). (1885–1887). (1885–1890). (1885).
(1885). (1885). (1885).
(1886). (1886). (1886–87). (1886–1889). (1887).
(1887). (1888). (1888). (1888). (1889). (1889).
(1889). (1889). (1889). (1890). (1890). (1890/1904).
(1892–1897). (1892). (c. 1894). (1895). (c. 1896).
(1898–99). (pre-1900). (1899–1900). (1901–1904). (1903–1906). (1908).
(1909). (1910).Museums.
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As its name implies, Bruno Dumont's 'Camille Claudel 1915' captures a moment in time for the woman in question with tremendous precision. In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike. As Claudel, portrayed on the big screen once before in the Oscar-nominated 1988 Isabelle Adjami vehicle, she personifies tragedy: A sculptress born in the middle of the 19th century in France, once the mistress and disciple of Auguste Rodin and eventually confined by her family to a remote asylum in the south of France, Claudel inhabits a frozen life. CloseThe movie's concision displays an exactitude worthy of Robert Bresson; Dumont also uses amateur actors, but to a more explosive end because 'Camille Claudel 1915' was shot at a real asylum and the cast includes inmates along with their caretakers in virtually all the supporting roles. The opposite of exploitation, the application of the inmates' tender faces, riddled with confusion and grief, deepen the bonafide humanity that distinguishes Dumont's approach. Rather than exploring a 19th century 'One Flew Over the Cuckoo's Nest,' his setting is a credible place marked by daily routines and undulating moods.
Claudel is usually downbeat, but even she cracks a smile when several inmates attempt to rehearse a play. The humor arrives as naturally as the grim aura surrounding it. CloseClaudel only encounters a semblance of hope when she learns that Paul plans to visit her soon. It's not clear exactly why she's been confined or if Paul hopes to release her, but the very idea of contact with a relative from beyond her purgatorial surroundings creates a necessary element of anticipation. Having established the idea of Paul in Claudel's eyes, Dumont briefly shifts to a nearby villa where the brother plans his trip.
Conflicted about the support he continues to provide for the sibling he seems to regard as a lost cause, Paul waxes poetic on his disdain for naive spirituality and discusses the bleaker forces that keep his beliefs intact. In both this sequence and the asylum exchanges, Dumont largely cedes control to his actors, deriving terrific power from their monologues while emphasizing their weary existentialist conceits through the stillness that surrounds them. CloseWhether through multidimensional characters as in 'Hadewijch' or the surreal abstractions of last year's 'Outside Satan,' Dumont's movies tend to scrutinize the tenuous boundary between the sacred and the profane, but none are quiet as focused in that rigorous quest as the incisive portrait here. With no time wasted on subplots, the pure misery of Claudel's situation defines the movie. But the fourth wall threatens to break in a telling moment when the doctor attempts to prescribe her malady.
'There's no worse trade than art,' he says, reflecting on Claudel's former profession. The movie's vigorous realization of its themes is the ultimate reprimand to that denouement.