Boogie Nights
Clubs, nightclubs and other rowdy dance floors are places of ligthness, seduction or dissidence, where musical trends, dramas and romances are born. They are the sulphurous theater of the bodies that are bring together , but also a mental space that can make the multitude and the solitude, the party feeling and the melancholy coexist. From the disco scene of the 1970s to today, this cycle brings together films where people dance without a tomorrow, in the light of neon and strobes.
A pornographic film director discovers a young talent in a nightclub. For a while, the success is there. But the 1980s, money, drugs and the arrival of VHS put an end to the carefree years of glory.
Paul Thomas Anderson
Paul Thomas Anderson is an American filmmaker, screenwriter, and producer. His accolades include a BAFTA Award, and nominations for 11 Academy Awards and three Golden Globe Awards. He has also won Best Director at the Cannes Film Festival, the Silver Lion at the Venice Film Festival, and both the Silver and Golden Bear at the Berlin Film Festival. Anderson's films are often psychological dramas characterized by depictions of flawed, desperate characters; explorations of dysfunctional families, alienation, loneliness, and redemption; and a bold visual style that uses constantly-moving camera shots and long takes. After his directorial debut, Hard Eight (1996), he had critical and commercial success with Boogie Nights (1997), and received further accolades with Magnolia (1999) and Punch-Drunk Love (2002). His fifth and sixth films, There Will Be Blood (2007), and The Master (2012), are often cited among the greatest of the 21st century. They were followed by Inherent Vice (2014), Phantom Thread (2017) and Licorice Pizza (2021). Anderson is noted for his collaborations with the cinematographer Robert Elswit, the costume designer Mark Bridges, the composers Jon Brion and Jonny Greenwood, and several actors. He has directed music videos for artists such as Fiona Apple, Haim, and Radiohead.
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Disco clubs : tour de piste
Il y a un plaisir indéniable à revisiter des films où les clubs, discothèques et autres scènes de party dansant ont une place de premier plan, parce que l’on sait qu’on y trouvera les ingrédients qui nous font jubiler au cinéma : le factice, le clinquant, le rythme et l’absence d’inhibition. Et pourtant, ces scènes de défoulement sont presque toujours teintées de sentiments plus troubles. (...)
