I can’t answer that, because none of them were difficult. A difficult role would be a weak role with a weak director in a weak film.
—
- Isabelle Huppert, What was your most difficult role ever?
the great olivier gourmet. the great isabelle huppert. the great DP agnes godard. some european film i’ve never heard of. i’ll be sure not to miss this when it comes out stateside.
what’s that you say? it came out on friday and is playing a few blocks away from my apt? ugh, if only i could ever get a day off.
…what’s that you say? after tomorrow morning i’ll have no earthly responsibilities other than finding earthly responsibilities for myself? interesting. if only i weren’t too lazy to stand up.
…what’s that you say!? i… no, no, really, i make jabba the hutt look like sue simmons, these days.
Glorious. My only bone to pick with the ecstatictruth (and it is a minor, rhetorical one) is that Isabelle Huppert did not precede (the also wonderful) Gourmet in his list of greats (what would come before Huppert?). Isabelle has been really delivering astonishing work this year (see also Un Barrage Contre le Pacifique and most probably she will also in A STREETCAR NAMED DESIRE) and Home is no exception, as she wordlessly expresses how psychic space structures physical space more eloquently than any psychoanalyst could. The film is not without its flaws - Meier pushes the Theatre of the Absurd metaphors a little too far, and a little too aimlessly, but the entire project is lifted by incredible work by Godard, luminous performances and the astonishing counterpoint of claustrophobically intimate spaces with unnervingly vast vistas of urban and rural spaces.
On était Adjani ou Huppert, comme on est Flaubert ou Stendhal, Beatles ou Rolling Stones
