Twentynine Palms

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Twentynine Palms_1080P

source: Twentynine Palms

source: Twentynine Palms

Twentynine Palms (2003) The basic plot outline for Twentynine Palms is that David, a photographer from LA and his Russian lover Katia (who speaks only in subtitled French) are out in the California desert scouting out locations for an upcoming photo shoot, at night they sleep in a motel room in the city of Twentynine Palms, and by day they explore the desert in their red Hummer. First off, there is very little dialog or action in this film, it just flows naturally, relying mainly on visuals and the bleak, brooding atmosphere of the desert. The characters of David and Katia are basically hollow, there's nothing for you to like or dislike about them, they're nonentities. Their relationship is very intense and volatile, but ultimately empty, based purely on frequent bouts of animalistic f ucking in the desert sand, on the rocks, wherever. Constant long shots distance the viewer from what is happening on screen, which adds to the overall feeling of isolation that the film emits. During one of their daily scouting missions in the middle of nowhere they are suddenly rammed from behind by a white pickup truck with blacked out windows, they pull over and 3 men jump from the truck, pull the couple from their Hummer, and start to beat David's head in with a baseball bat. Then while one man holds Katia..s head, forcing her to watch, another of the men brutally rapes David while screaming in orgasmic glee, after he comes, he zips up and the men disappear as quickly as they arrived, leaving the couple in the sand. They go back to their motel room where David sits on the bed completely traumatized. The next morning Katia goes out to get a pizza (?!) and when she comes back David has locked himself in the bathroom, she patiently waits for him to come out. Then suddenly the bathroom door flies open, David bursts out screaming, his head completely shaved and proceeds to viciously stab Katia to death. The final scene of the film is the abandoned Hummer in the middle of the desert, David's dead body beside it and a highway patrol officer on his police radio calling for an ambulance. Twentynine Palms starts off as a cinema verite-style road movie with stunning imagery, stylish camera-work and a slow meditative pace, but after the shocking ''climax'' you are left with one startlingly bleak and nihilistic film. Director Bruno Dumont has said his film has no intent, narrative or message. He as a director is free to express himself on celluloid, and we as spectators are free to take whatever we may from it. The characters are deliberately stripped free of any discernible traits, therefore we cannot identify with them. Instead the focus is on pure sound and image. A fantastic piece of cinematic art. 10/10 Highly recommended.

Bad. Bad, bad, bad. Can I say it enough times? I'm not sure why I stayed through this nightmare (probably because I'd spent my $7 and wanted my money's worth - and part of me wanted to see if it got any better). This was nothing more than a advertisement for Hummer with two people traveling through the desert, screaming at each other, when not arguing with each other they're having really violent sex, and then,in the end, going crazy. Just when I thought it couldn't get any worse, it does. The violence that erupts in the last 20 mins of this movie came out of nowhere. Nothing led up to it, there was no motive, nothing. It was pointless. The best part of this movie was the ending. For two reasons: 1) it was finished and the punishment was over and 2) the end scene was very, very good. I don't suggest seeing this but if you decide to see this nightmare for yourself, make sure you watch the last 2 mins. They are very, very good.

Waste of film and time. This is an obscene exercise in the director's misplaced vanity. I have alerted readers to spoilers, but the truth is there is so little action, story line, character development or writing, there isn't much to spoil. A selfish, arrogant jerk goes on a trip with his super needy girlfriend from Russia. They drive the arrogant jerks Hummer through the desert and have sex in various places with the guy having some impossible, skull exploding * every time. This happens continuously for the first 96 minutes of this 113 minute movie. In the last ten minutes they are pulled over by desert-driving thugs, who force them to stop, rape and brutalize the man, while forcing the woman to watch. In the last minute they are both killed and the movie ends. Just awful. I suppose the artsy pseudo-intellectuals will talk about these things I thought the director had included. The stark contrast of the Hummer in the desert. The less than perfect communications between the man and the woman represent the inherent differences of the sexes. And finally, it was not lost on me (no more than getting hit with a sledgehammer), was the male rape by the guy who had the bigger truck and as some king of insane plot thread, the rapist has a similar very vocal * during the male rape. Look, I don't want to intellectualize over some anti-Hummer tirade by the director, but this movie sucked and the panoramic vistas (which some people think is the saving grace of this movie, kind of in the wide open style of Kubrick in 2001,but it simply did not work for me. For example, some of the shots are so wide, you have to scan to find the actors. Anyway, pass on this film, you have an hour fifty two minutes to do better stuff in your life.

POSSIBLE SPOILER (If further spoilage is possible) It should take longer for directors to go into decline. A great disappointment after Pola X. He got much more out of Golubova in that film --- maybe her characterization, such as it is, and ultimate fate, in 29 Palms reflects a deterioration in their relationship. Contrary to many comments, the dissatisfaction is not about the slow pace – we still love L'Avventura, Bergman, etc., but when there is nothing to look at in the frame, things become very boring. Narcissists are boring, and neither the director nor the actors (nor the Hummer) show us any complications of interest. It may be news to this French director that the California desert is harsh, the roadside strip malls soulless, but it shouldn't be news that sex can be soulless. No, I don't expect the director to make it erotic, but he shows nothing new about sex or violence to those of us over 10 years old. Some have called this a horror film. Is it the horror of kitsch, of Disneyland, of TV,celebrity culture, of corporate America, of present day politics? Seen it all before. The horror of nothingness?: Been done much better before. This film telegraphs the upcoming horror leadenly --- 15 minutes into it I thought "Deliverance."

i can easily understand why this film has been so hated, but i must say that it is at times one of the most beautiful, and at others, one of the most disturbing films i've ever seen. after seeing humanite, i walked in to the theatre with very low expectations (i'm not a dumont fan in the least), but something in the stark beauty of the photography sucked me in, i found the numb vacant space of the characters, and hook, line and sinker, fell right into dumont's trap. i doubt i would recommend this film to anyone but my closest (and most tolerant) friends, but have to say that i loved it, and thing it may also be found rewarding by other patient and adventurous viewers.

This is the first time I've ever posted a comment on IMDb. I felt so angry after watching this film that I couldn't help myself. I should qualify my comments by first saying that I watch a lot of films - cult films, horror films, art house, American, Japanese, I watch lots of everything and I also programme films for film festivals. So this isn't a "I don't understand art cinema and only like Hollywood" kind of response. In fact, I generally like art-house cinema and older films much more than mainstream cinema. 29 Palms, however, is utter drivel. Halfway through the film I was starting to wonder whether Dumont was making a satirical comment on these flaky, pretentious and pointless characters. How else to explain that he could have felt that there could be any point in watching these incredibly boring characters. The film is nigh on unwatchable because the characters are such total dullards and nothing happens. There are times when inaction can be fascinating - Monte Hellman has a pretty good stab at a film about nothing happening in Two Lane Black Top. But I finally got the sense that Dumont felt that he was communicating some kind of grand human struggle with his characters. He isn't. He's just simply filming two stupid people playing stupid characters who act like children. When the action does kick in, after an hour and half of utter boredom, it is totally unsatisfactory. You get the sense that Dumont has no respect for horror films. The first hour and a half is perhaps supposed to elevate the horror elements into something sublime. But this isn't a subversion of horror clichés, it's an obliterative film that takes all of the satisfaction out of the horror elements. There is a vast problem at the moment in that directors don't see the potential in genre films. Horror films these days are generally dumb or incredibly pretentious deconstructions of the genre. The problem with 29 Palms lies in the fact that without the action of the last half hour there would be no film. But because the first three quarters of the film is so unengaging the last quarter seems utterly pointless anyway. There is no build-up of tension towards the climax, no atmosphere, just bad performances. And the climax is so obtuse that it is mostly amusing. Many great films have covered the themes of 29 Palms. Dumont's film keeps its themes out of focus in an attempt to make grand statements. Ultimately it is says absolutely nothing about anything. After watching the extras on the disc it does indeed turn out that Dumont thinks that these characters are somehow fascinating. The main actor talks about his performance as if he invented acting. Dumont speaks as if actors have no understanding of the process that they go through. The 'Making Of' Documentary plays like Spinal Tap. This is a grossly misguided film by a pretentious and misguided director. People will read deep meanings into it but really this is dreadful film-making of the highest order. Absolute drivel, there's no doubt about it.