The French filmmaker and pop provocateur talks about Athena, his explosive new drama which recasts powder-keg tensions in the Paris banlieues as Greek tragedy
’ oeuvre, violence ignites like the crack of flint and swells across the screen like a bloom of smoke. Having cut his teeth directing for the likes of MIA and Jay Z, Gavras’ early music videos are shot through with a cinematic, violent lyricism that mediates on the potent power of image-making, from the provocative viscera of. “They’re almost like poems, music videos,” Gavras says. “Whereas a film is like a novel.
RG: To say the police are bad and the youth are good, to have these very schematic visions, is I think only the varnish of the situation. At the end of the day, especially in France, there is a lot of police brutality – it’s why a situation like inis possible. But it’s possible to take advantage of a situation that is tense. There are always forces pushing towards that conflict: police versus young people is what you see on the ground, but it’s usually the result of darker forces.
AB: You have a really distinctive visual style across your work. There can be a tendency when talking about highly stylised filmmaking to think of aesthetic as antithetical to meaning – critics often sayis all style and no substance. What can such filmmaking achieve that more realist approaches can’t?
AB: You spoke earlier of movements towards chaos and I’m wondering if there is anything optimistic as well as pessimistic in that? So much of this film is about the aesthetics of anger, and anger can be productive.
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