Joan the Maid 1.: The Battles

Seems to aim for a kind of historical and anthropological veracity as a means of generating both an intimate and a general significance, painting a complex portrait of Jeanne as at once strong and fragile, certain and fearful, clear-thinking and possessed, warlike and sensitive – and above all a tragic figure. Also gives particular focus to instruments such as writing, weaponry and clothing. Directed with Rivette's usual precision. Score covers both parts. Viewed on very poor quality DVD.

This to me is what a historical epic should look, sound and feel like as cinema. Rivette's gift for perfectly pacing films works so well here to convey the sanctity of Joan and her actions. The use of docudrama-style moments of speaking to the camera works very effectively to acknowledge key historical moments but not distract from the main focus of the film which is Joan's intimate interaction with individuals (both those of the Church and the sword) in her holy quest to save France.

it's how i imagine joan baez was during the civil rights movement

Exactly the super slow medieval hangout drama I wanted.

dreyer and bresson were clearly concerned with religious matters, so the story of joan is a perfect fit for them. rivette, however, doesn't really seem to be as bothered with such things, so his approach should be a bit different. indeed, this particular adaption of history is much less about the spiritual and more about the human - or to say, more about the woman. it's basically a historical epic without the epic, but while i generally dislike epics, rivette was unable to make a boring film.

Joana, a Virgem I estreava há 30 anos na França e no Festival de Berlim. A persona de Joana D'arc não me fascina em nada, se não for aquele arrebatamento do filme do Dreyer não consigo me engajar em sua história, mesmo sob a mão de um Rivette. Box Versátil Joana D'arc no Cinema.