Product Description

From Bruno Dumont, one of the leading visionaries of world cinema, comes Twentynine Palms, a mesmerizing story of love, sex and evil set deep in the Joshua Tree desert. While scouting for a photo shoot location, an American photographer (David Wissak) and his Russian/French girlfriend (Katia Golubeva) spend their days engaging in impassioned fights, hasty reconciliations and frequent bouts of sex, until a shocking act of desperation leads to an unforeseen and brutal climax. DVD extras include: 5.1 Extraction, Trailer, Interview with Director, EPK, Making of Reel, Subtitle Control

Product Details

• Amazon Sales Rank: #20733 in DVD
• Released on: 2004-09-21
• Rating: NR (Not Rated)
• Aspect ratio: 2.35:1
• Formats: Color, Dolby, DVD, Letterboxed, Subtitled, Widescreen, NTSC
• Original language: English, French
• Subtitled in: English
• Number of discs: 1
• Running time: 119 minutes

Amazon.com,
No one can accuse director Bruno Dumont of taking the easy road. Dumont's Life of Jesus and L'Humanite are fascinating, but they test the comfort zone of even the most devoted art-house maven. Twentynine Palms serves up more of Dumont's uncompromising rigor, this time set in America. A couple scout locations in the desert around Joshua Tree, and spend most of their time fighting or having sex. The frankness of the director's approach to sex does not prepare one for the shock of the truly bleak final reels. This Last Tango in Zabrieskie Point has a lulling, creepy power before it reaches those shocks, although actors David Wissak and Katia Golubeva are perhaps not as compelling as Dumont wants them to be. Of course, he's showing empty people traversing one of the emptiest places on earth--so maybe it fits. In any case, this film will shake you if you stick with it. --Robert Horton

From The New Yorker
A guy and a girl, sex and violence, a sinister landscape-that's all there is in the latest provocation from the infuriating yet talented French director Bruno Dumont. David (David Wissak), who is some sort of location scout, and Katia (Katia Golubeva), a French-speaking Russian girl with no apparent occupation or interests, drive in a red Hummer through the sinister high desert of California. What are they doing there? They are in love but have nothing to say to each other. They are trying to make sex do the work of everything else, and, for a while, of course, it can; their lovemaking, photographed straight on, without lyricism or sensuality, is a successful assertion of will against a dead sky. Dumont arranges the two figures in the hostile landscape so they seem overmastered by it, then he holds the shots longer than expected, until menace builds up in the surrounding silence and our nerves are close to snapping. In Dumont's apocalyptic terms, the man and woman work their way to the end of both the magnificence and the poverty of instinct, where sex has nowhere to go but into death. Bleak, surly, but impressive. In French. -David Denby
Copyright © 2006 The New Yorker