I wanted to interpret a hymn to the triumph of the soul over life. What streams out to the possibly moved spectator in strange close-ups is not accidentally chosen. All these pictures express the character of the person they show and the spirit of that time. In order to give the truth, I dispensed with “beautification.” [...]
Rudolf Maté, who manned the camera, understood the demands of psychological drama in the close-ups and he gave me what I wanted, my feeling and my thought: realized mysticism. But in Falconetti, who plays Joan, I found what I might, with very bold expression, allow myself to call “the martyr’s reincarnation.”
-- Carl Th. Dreyer on The Passion of Joan of Arc
Torture is not the point of Martyrs. The film deals with human pain, the meaning of it, which is something completely different.
-- writer-director Pascal Laugier
My attraction to repulsion occasionally yields a transgressive masterpiece, but, more often than not, it's just proof of a strong emotive fortitude combined with some twisted prurience that I never grew out of -- that is, a willingness to endure aesthetic defilement. Despite all the highfalutin cant that's been written about it, I doubt sublimity is the prime selling point for Un Chien Andalou. But I'm with the Marquis de Sade in that art has no obligation to depict virtues. Morality enters into our relation with the art, however reprehensible it might be. The intrinsic morality of the art is but one side of the dialog. It is for this simple reason that I don't support obscenity laws of any sort. The desideratum of Nekromantik needs no more of a defense for its existence than Jennifer Aniston's current love interest. So, with that in mind, I caught up with some of the fairly recent horror films coming out of France; to see what, if anything, they say to me. First up is Martyrs, easily the nastiest of the bunch, so it's only uphill from here.