Abstract

A child of the era of decolonization, Claire Denis grew up in various regions of France’s subSaharan colonial lands, and was brought back to the ‘métropole’ as a teenager in the 1960s.She has thus had a double practice of foreignness, abroad, and in her ‘own’ country, whichshe did not know and where, in similar yet fundamentally different ways than in Africa, shefelt like an outsider again. As the daughter of a colonial administrator – a childhoodbeautifully evoked in her first feature, Chocolat – she had stood as a highly visibleembodiment of the Western presence on colonial soil. On her return to France, she wouldlive through the more banal experience of becoming an invisible intruder, an exile at‘home’– a theme explored in her subsequent works. From the start, Denisthus drew on her personal knowledge of feeling rootless to explore issues that haveremained at the heart of her filmmaking: the deeply perplexing questions of identity andalienation, assimilation and rejection, desire and fear inseparable from the post-colonialmalaise that affects France with particular acuteness