February 20, 2005
A young woman named Magdalena (Isabelle Huppert) retrieves a postcard that had been cast into the wind by her biological mother (Bulle Ogier) from a seaside town in Portugal and discovers that she has a twin sister named Maria. From this seemingly introspective opening premise on identity, connection, and history, Deux diverges into unexpectedly abstract, non-intersecting trajectories that involve a schoolgirl attraction with a fellow classmate, a mother's wartime romance, a serial killer who leaves a tell-tale rose on the bodies of his victims, a lonely woman who adopts a fox as a household pet. Composed of asequential and dissociated vignettes, the film evokes the baroque tableaux of Sergei Paradjanov, the formalism of Rainer Werner Fassbinder, and fractured surrealism of Luis Buñuel infused with quasi-religious iconography and Actionism of Otto Mühl (most notably, in the image of disemboweled figures such as ornamental cherubs). Werner Schroeter's latest film is an elegantly operatic, tactile, and voluptuous, but ultimately fractured, opaque, and impenetrable, creating a sensuous and visually dense but also idiosyncratically personal to the point of abstruseness.
Unfortunately, the highly anticipated conversation between critic Gary Indiana and Bulle Ogier turned out to be a rambling, disorganized, and incoherent near monologue by Mr. Indiana who seemed far more interested in usurping the spotlight to articulate his opinions on Deux and Werner Schroeter rather than actually interviewing with Ms. Ogier, opening with his expounded personal theory that the relationships between the estranged mother and twin daughters in Deux represented the relational dynamics between Schroeter's recently deceased mother, his late muse Magdalena Montezuma, and Schroeter himself...to which Ms. Ogier could only briefly respond in agreement (before Indiana then launched into a second theory on the meaning of the film). Fortunately, Ms. Ogier was able to provide some personal insight into her oeuvre, such as her continued work in stage and screen both in France and in Germany, which led to her association with Schroeter. Another was how her collaboration with Rainer Werner Fassbinder in The Third Generation led to the development of her character in Jacques Rivette's Le Pont du Nord as a loose sequel to the newly released, imprisoned former activist and revolutionary of the Fassbinder film.