Abstract
Claire Denis’ cinema relies on in-betweenness of the film medium, combining it with other art forms and media through sensations. Towards Mathilde (2005) documents the correspondence between the director’s own work and that of the famous choreographer, Mathilde Monnier, reflecting on artistic expression, movement, and embodiment with the senses. This article explores the intricate texture of affective intermediality within the film. Interweaving the theories of affect and intermediality within film studies, this analysis delves into the ways in which Denis embodies a wide range of intermedial elements to inspire emotional responses. Through a detailed examination of the use of cinematography, sound design, and music, it uncovers how Denis engages in different arts and media to create a deeply affective cinematic experience. By examining the interplay between visual, auditory, and sense in dance and cinema as two distinct but intertwined art forms, this article aims to illuminate the affective intermediality at work in the film, offering insights into the complex ways in which cinema and dance can move and communicate emotion.
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