Frank Beauvais’s pastiche “Simply Don’t Suppose I’ll Scream” paints with a palette of 400-plus movies. In 2016 Beauvais recovered from a breakup in an Alsatian village by filling his days with music, beer, pot, and torrents of films. The cineaste monologues over clips from his half-year of viewing to create one thing resembling a dyspeptic novelist’s journals.
The magic trick of recycling cinema has an extended custom from the Soviet filmmaker Esfir Shub’s “Fall of the Romanov Dynasty” to Bruce Conner’s avant-garde basic “A Film” to Christian Marclay’s set up “The Clock.” Beauvais and his editor, Thomas Marchand, use the stream of (soundless) snippets as a psychological EKG, illustrating his spoken phrases extra typically than opening up ambiguities. Even when the clips come from movies by well-known administrators, they appear chosen to go off the frisson of recognition, although Beauvais name-drops some sources and touchstones (Vernon Subutex, Hermann Hesse, Blake Edwards, Bonnie Prince Billy).
Principally he despairs about terrorism and capitalism after bombings in France, vents concerning the tedium of conservative Alsace and his personal inertia, and laments that his father died whereas watching an Occupation-era drama. He has a contented group of mates in Paris, filmmaker guests, and a useful (if oddly underrepresented) mom. However his photos breathe isolation: amid the nameless figures, disembodied arms, hard-to-place curios and diverse bleak moments, faces are uncommon.
By the point Beauvais dismisses some chestnut bushes as “bland,” the film screams nothing a lot because the pained self-absorption of despair — an anguished revelation, however dead-on.
Simply Don’t Suppose I’ll Scream
Not rated. In French, with subtitles. Operating time: 1 hour quarter-hour. Watch by means of Movie Discussion board’s Digital Cinema.