From the Chicago Reader (April 19, 2002). — J.R.
Directed by Laurent Cantet
Written by Robin Campillo and Cantet
With Aurelien Recoing, Karin Viard, Serge Livrozet, Jean-Pierre Mangeot, Monique Mangeot, Nicolas Kalsch, Marie Cantet, Felix Cantet, and Maxime Sassier.
My French-English dictionary defines l’emploi du temps — the term used as the French title of Laurent Cantet’s remarkable feature Time Out — as the “timetable (of work), allotment of time.” Neither translation makes for a catchy film title, so it’s easy to understand why “time out” was selected. It also seems a fairly apt description of the spooky shadow existence of the film’s bland yet mysterious and compelling hero, Vincent Renault (Aurelien Recoing). A financial consultant fired weeks or months previously, he’s afraid to tell his family and friends the news. After a former work associate starts to wonder why he hasn’t told his wife, Muriel (Karin Viard), he invents a new job with the United Nations that obliges him to spend time in Switzerland, then gets his father and some friends from high school to invest in his imaginary activities. All the while he remains on the margins, spending much of his time in a hotel lobby, sleeping in his car in the hotel’s parking lot, eating in convenience stores, and driving aimlessly around the countryside near Grenoble and the French-Swiss border.… Read more »
This was written in late 2012 and early 2013 for Film Comment, but this magazine’s editor at the time loved to improvise the contents of every issue at the last moment, and this article had already been edited, scheduled, and then pulled from two separate issues. For me, it had currency and some immediacy because of the release of a Delvaux box set in Belgium; from the editor’s more land-locked Manhattan perspective, it could be published any time without making much difference. Rather than run the risk of this delay happening a third or even fourth time over the remainder of that year, and because I believed that jonathanrosenbaum.com (now jonathanrosenbaum.net) may have had a larger readership than Film Comment anyway, I decided to make a last-minute editorial decision of my own and posted it there, originally in August 2013, forfeiting the expected fee for the piece. (Like all my other texts, it subsequently got transferred here half a year later, at jonathanrosenbaum.net.) — J.R.
Part of the strength of André Delvaux (1926-2002) as a filmmaker is that, like the otherwise very different Samuel Fuller and Jacques Tati, he was already pushing 40 when he directed his first feature — having by then studied music, German philology, and the law, and also taught Germanic languages and literature before he became a pioneer in teaching film at Belgian state schools, where Chantal Akerman and Hitler in Hollywood’s Frédéric Sojcher (who has written a short book on Delvaux) were among his pupils, meanwhile playing piano to accompany silent films at the Brussels Cinémathèque.… Read more »
As much as I revere some of the Belgian films of Chantal Akerman, if I had to choose only one Belgian film to take with me to a desert island, I’d have a pretty rough time forsaking this 1971 masterpiece by André Delvaux, which I seriously, even spectacularly, underrated when I reviewed it for the Monthly Film Bulletin (in their April 1976 issue, vol. 43, no. 507) — although paradoxically I seemed pretty well attuned to its special enchantments even when I kept finding ways to undervalue them, perhaps because I couldn’t find adequate ways to account for them. Happily, I’ve been able to rediscover this film thanks to a sublime Belgian box set that I reviewed some time ago. — J.R.
Rendez-vous à Bray (Rendezvous at Bray)
France/Belgium/West Germany, 1971
Director: André Delvaux
Cert—A. dist—Essential Cinema. p.c—Parc Films/ORTF (Paris)/Studios Arthur Mathonet/Ciné Vog (Brussels)/Taurus Film (Munich). p—Mag Bodard. assoc. p—Philippe Dussart, Pierre Gout. asst. d—Charlotte Fraisse, Michel Rey. sc–André Delvaux. Based on the story Le Roi Cophétua by Julien Gracq. ph—Ghislain Cloquet. col—Eastman Color. ed—Nicole Berckmans. a.d—Claude Pignot. m—Frédéric Devreese; excerpts from the works of Brahms (including Intermezzos Nos.… Read more »