
It’s hard to imagine a more unlikely candidate for an elite French film journal than the new release Lumberjack Gang Bang — a frank exploration of the cum-flying, ass-plowing, and mouth-jamming that can be expected when lumberjacks are stranded in the wood, due to a bridge collapse, and can’t get their weekend quota of — as the screenplay drolly puts it — “pussy banging.”
Even the tagline for the film is simple and direct, warranting, so it would seem, no further analysis: In the forest only lumberjacks can hear you beg for more!
Thus we were electrified when we picked up the December issue of Cahiers du Cahiers, which specializes in close readings of American film and bills itself as “a meta-journal” — the name means “Notes on Notes” and is one step up in mental abstraction from the now aged Cahiers du Cinéma.
“A wartime masterpiece,” raved cinéaste Jean-Baptiste Bresson, “in which the subtext is Iraq and the American soul.” The massive essay begins, as is the style of the journal, with a long, meditative anecdote on how Bresson had intended to write about Ken Burns’ The War, a 19-hour documentary on World War II that he had just seen at the Cannes Film Festival. (read the full article)









