In Les Roches rouges, the brilliant Bruno Dumont seems, much like Jean Dubuffet once did, to dream of returning to the mindset of children. His cinema has rarely come this close to complete, uninhibited silliness – and, by the same token, to a kind of genuine freedom that confronts the viewer almost as a challenge.

Victor Morozov

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Film critic and journalist; writes regularly for Dilema Veche and Scena9. He studied film theory in Grenoble, Paris, Dublin.

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