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Twentynine Palms (2004)
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Reviews Counted:13
Fresh:4
Rotten:9
Average Rating:4.6/10
Consensus: A muddled and inconsequential drama.
Theatrical Release:Apr 9, 2004 Limited
Synopsis: French philosopher-turned-filmmaker Bruno Dumont follows up his award-winning drama HUMANITE with the equally devastating TWENTYNINE PALMS. Dumont's self-professed "experimental horror film"... French philosopher-turned-filmmaker Bruno Dumont follows up his award-winning drama HUMANITE with the equally devastating TWENTYNINE PALMS. Dumont's self-professed "experimental horror film" follows a couple as they journey to the California desert town of Twentynine Palms and encounter true evil. David (David Wissack), an American photographer, and his Russian girlfriend Katia (Katia Golubeva), are scouting locations for an upcoming photo shoot. During the day, they drive David's Hummer into the expansive desert and roam freely, while at night, they argue in broken French and have animalistic sex. Eventually, their luck runs out, as the outside world catches up to them and causes their tragic demise. TWENTYNINE PALMS is a jaw-droppingly brash work of art. Dumont takes a stylistic cue from French master Robert Bresson, simplifying his filmmaking technique in order to ponder deeper issues of humanity (good vs. evil, love vs. hate, sex/life vs. death). The result is a truly challenging film, which will confound and anger as many viewers as it stimulates and thrills. Like Lars von Trier's DOGVILLE, TWENTYNINE PALMS will also be accused of anti-Americanism, but Dumont's message is clearly a universal one. He uses a sparse yet familiar American landscape to subvert viewer's expectations, building to one of the most shocking finales in cinematic history. [More]
Starring: Katerina Golubeva, David Wissack
Starring: Katerina Golubeva, David Wissack
Director: Bruno Dumont
Director: Bruno Dumont
Screenwriter: Bruno Dumont
Producer: Jean Brehat
Studio: Wellspring
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Reviews for Twentynine Palms
A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
In Twentynine Palms, writer and director Bruno Dumont takes his cultural revenge on the United States, attacking countless American stereotypes and in the process reinforcing an equal number of cliches about arrogant French auteurs.
It's alternately monotonous, hot and dramatic, which makes for a peculiar, not entirely unsatisfying atmosphere of neo -- or is that post? -- noir.
[Dumont] forces viewers to question not only what's on the screen, but ultimately, the very nature of reality.
[Brown Bunny] sports the narrative complexity of War and Peace compared with Twentynine Palms.
Cannot entirely be dismissed, because the director so adamantly knows what he's doing.
At turns sexy, ultra-violent and sweet, it will infiltrate your brain long after you've seen it.
The sustained force of Bruno Dumont's vision of existence as a swirl of brute instincts may not be easy to absorb, but it marks him as a major filmmaker.
Nihilism is a crude instrument, even for those with talent, and it can be especially hazardous for those who believe, as Dumont apparently does, that the sum total of existence is 'sex, love and evil.'
This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness.
Dumont's taste for the elemental has always flirted with the moronic. But this time, he's dozed off at the wheel and drifted well over the line.
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