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Critics Consensus: Camille Claudel, 1915 isn't an easy watch, but Juliette Binoche's excellent performance makes it worth the effort.
Critic Consensus: Camille Claudel, 1915 isn't an easy watch, but Juliette Binoche's excellent performance makes it worth the effort.
All Critics (45) | Top Critics (9) | Fresh (36) | Rotten (9)
It is a deeply sombre, deeply affecting film, based on real events, about the ordeal of Camille Claudel.
Juliette Binoche gives a wonderful performance as Camille, conveying the intelligence, anxiety, anger and isolation of an artist abandoned by her family.
Despite its austere beauty, elegant triptych-like structure and faultlessly disciplined performances, "Camille Claudel 1915" still raises more questions than it answers ...
Juliette Binoche, as Claudel, is occasionally touching, but as soon as interest flares, the movie suffocates it via endless takes of her suffering through daily chores.
Whatever nuance the movie has, it owes to Binoche's performance; despite the material and visual context, she's able to convey a sense of contradiction and inner life.
By the end, you are left with a feeling of helplessness, rage, and a kind of abstracted bafflement. How did this happen?
Camille Claudel 1915 is the first Dumont film I would truly consider boring. Everything it works so hard to convince us of, we have heard so many times before.
With a stripped-down, bare-faced performance, Juliette Binoche is utterly wonderful in this tense French drama.
A powerhouse performance by Juliette Binoche provides the beating, tortured heart of this finely wrought and very affecting film about the later life of sculptor Camille Claudel.
This is a stark film, about the human condition at its most base and degraded.
This is a difficult film, but made with impressive formal rigour.
This later history of Claudel, which stars Juliette Binoche, is spare, harsh and minimalistic, as one would expect from Bruno Dumont.
"Camille Claudel 1915" has a couple of great things going for it, like an excellent performance from Juliette Binoche in the title role of a woman who was at one time a lover and protege of Rodin and a sculptor in her own right, and a valid point about the state of mental health a hundred years ago, allowing a woman to be trapped in an asylum for decades against her will. That's especially hard to take considering she is much healthier than her fellow inmates and her brother Paul(Jean-Luc Vincent) has delusions of his own. But that's pretty much it and nowhere near enough, as Bruno Dumont does little more with the source material of letters and medical records than to simply transcribe them. Look, I know he has never made easy films to understand but at least in the past he has tried to challenge the audience instead of making a tedious movie like this one.
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