Unlike the erotic
surrealism mastery of his peer-filmmakers such as Buñuel, Robbe-Grillet
and even Raúl Ruiz, Pierre Zucca in his Roberte (adapted from Pierre Klossowski’s
novel) tends mostly toward a “non-professionalism” and aesthetical economy.
Where the enchanting force of his work is driven by an atmospheric sense of strangeness
and oddity, an ambient surreality: a complex simplicity, when precisely less is
more!
Roberte takes place amid
the illusionary world of mirrors, theatrical backdrops and mysterious urban
labyrinths (Rivettean) which all perfectly reflect and encompass the vanity and
anxious bewilderment of her eponymous character’s psychological/mental space
and the masculine social bourgeoisie she’s entangled within - which can also provoke
apparent resemblance with Flaubert’s Madame Bovary.
Roberte’s sexual nervous
breakdown is split between various men, like her body which is chopped off of
its wholeness as Zucca applies many fragmented/detached shots of the hands and
legs to depict and convey this sense of corpo-mental shattered-ness. That’s why
the voyeuristic aspect of the film is never delivered as a complete uninterrupted
totally, and that’s where Zucca transcends the mere voyeurism to a higher level
of imaginative imperfection - a liberated eroticism rather a manipulative
pornography. Remember how the film by each step and twist is led to even
lose its sound and color at the end, closing with a graphical design of a
keyhole in the credits.
Pascal Bonitzer
remarkably mentions this aspect of Zucca’s work, when he accurately writes, In
Roberte, like all her postures and adventures, what’s evoked is a “crime
without violence” and a pornography without obscenity (Cahiers du Cinéma; No.
299, April 1979). So also I would like to add, a voyeurism without gaze.
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