Dead Man’s Wire: A Van Sant Perspective on L’Outsider
- Dead Man's Wire, à l'affiche vendredi, est l'œuvre la plus aboutie de Gus van Sant depuis Milk (2008).
- En février 1977, à Indianapolis, Tony Kiritsis a pris en otage, en direct à la télévision, son courtier hypothécaire, s'estimant floué par lui et sa compagnie.
- « Le vrai personnage était comme ça, il semblait sympathique, mais il était dangereux », rappelle Gus Van Sant, en entrevue en visioconférence.
Dead Man’s Wire, à l’affiche vendredi, est l’œuvre la plus aboutie de Gus van Sant depuis Milk (2008). Un thriller tendu, inspiré d’un fait divers, qui se situe au carrefour des films indépendants et plus commerciaux du célèbre cinéaste américain.
En février 1977, à Indianapolis, Tony Kiritsis a pris en otage, en direct à la télévision, son courtier hypothécaire, s’estimant floué par lui et sa compagnie. Dans son combat de David contre Goliath, Kiritsis s’est attiré la sympathie d’une partie du public américain.
« Le vrai personnage était comme ça, il semblait sympathique, mais il était dangereux », rappelle Gus Van Sant, en entrevue en visioconférence. « C’est un homme seul qui se battait contre la machine. »
C’est Werner Herzog qui,au départ,avait été pressenti pour réaliser ce premier scénario de long métrage d’Austin Kolodny. Gus Van Sant a été recruté à deux mois du début prévu du tournage, alors qu’il venait de terminer de filmer la deuxième saison de la série de Ryan Murphy, Feud : Capote vs the Swans.
PHOTO FOURNIE PAR ASSOCIATED PRESS
Dacre Montgomery, au premier plan, et Bill Skarsgård dans une scène de Dead Man’s wire
Gus Van Sant is a great filmmaker of few words. The leader of the New Queer Cinema is reputed to be as taciturn on set as he is in interviews. I can attest to that… However, he is effusive when it comes to Hungarian filmmaker Béla Tarr, master of contemplative cinema who passed away earlier this month.
Van Sant was living in New York in the early 2000s when he read a particularly glowing article about Béla Tarr, whom he didn’t know, in a film magazine. As fate would have it, two days later, Sátántangó, Béla Tarr’s masterpiece, adaptation by the 2025 Nobel Prize in Literature laureate László Krasznahorkai of his first novel, was screening at the Film society of Lincoln Center. Van Sant went to see it, and was profoundly affected. “It was like nothing I’d ever seen,” he says. “It was so slow, so deliberate, so… hypnotic.”
He afterward delved into Tarr’s entire filmography,becoming a devoted fan. “His films are like tapestries,” Van Sant explains.”Each shot is carefully composed, each scene is meticulously crafted. It’s a total work of art.” He describes Tarr’s style as ”minimalist” and “observational,” but also as “deeply emotional.”
Van Sant has often cited Tarr as an influence on his own work, particularly his films Gerry (2002) and Last Days (2005). Both films are characterized by their slow pace, long takes, and minimalist dialog. “I wanted to create a similar sense of atmosphere and mood,” Van Sant says. “I wanted to allow the audience to really immerse themselves in the world of the film.”
It’s critically important to note that Van Sant’s admiration for Tarr goes beyond mere stylistic influence. He also deeply respects Tarr’s commitment to artistic integrity. “He never compromised his vision,” Van Sant says. “He made the films he wanted to make, regardless of what anyone else thought.”
Van Sant considers Tarr’s work a complete guide to a certain kind of filmmaking – one that prioritizes atmosphere, emotion, and artistic vision over narrative and spectacle. He believes Tarr’s legacy will continue to inspire filmmakers for generations to come.
In conclusion, Béla Tarr’s impact on Gus Van Sant, and on cinema more broadly, is undeniable. His passing marks a significant loss for the film world, but his work will undoubtedly endure.