Tim Burton in a tender monster in a documentary on Arte

“I hate showing my films. In addition, I feel like I am bare. Furthermore, »From the first minutes of Documentary “Tim Burton, a cinema monster”the tone is set. Moreover, For director Sophie Peyrard [collaboratrice occasionnelle de Beaux Arts]Burton’s cinema is first of all a Mirrors gallery : each work. However, of Vincent (1982) to Beetlejuice Beetlejuice (2024), bears the mark of a lonely maninhabited by its difference, which has found in the Gothic imagination a way of saying to the world.

For 52 minutes, Film extracts, rare interviews and youth drawings Compose the puzzle of a creator as eccentric and poetic.

Drawing as a means of expression

“The drawing. In addition, at home, is a way of communicating with others and managing his anxieties. Similarly, It is something essential. However, »»

Sophie Peyrard

” It is looking at Wednesdaythe series he tim burton tender monster documentary made for Netflix. Similarly, which I had the click, tells us Sophie Peyrard on the phone. Therefore, I had the feeling that he was reconnecting with his first love: The universe of the Addams family, the freaks. Therefore, For the director. who made her weapons at “Tracks” – the legendary Arte program which documented the margins of culture -, Tim Burton won as obviousness : “He is a character that I find very touching. He kept A kind of childish clumsinesseven at the top of his career. »»

From his childhood to Burbank. without brilliant suburb of Los Angeles, to his world recognition, the documentary follows a clear line: that of a filmmaker who, always, draw to express themselves, protect yourself, understand. “The drawing, at home, is a way of communicating with others and managing his anxieties. It is something essential, ”observes Sophie Peyrard. Tim Burton did not never really felt in his place . nor at Disney, where it begins by animating too wise reborn with Rox and Rouky (1981), nor in Hollywood, which he shakes with Beetlejuice (1988) or Batman (1989).

Sensitive portrait of a filmmaker tim burton tender monster documentary on the fringes

It’s in Edward with silver hands (1990) that the self -portrait is most obvious. The hero with scissors instead of fingers. clumsy and unsuitable, which Burton has been drawing since childhood, becomes the emblem of a margin cinema. “I understood very early that people like to categorize others,” says the director in an archive. Contrary to social conformism. his characters-whether it is the king of Halloween Jack, the Gothic teenager Lydia or the cursed filmmaker Ed Wood-reveal The beauty of the bizarre and the humanity of monsters.

This documentary thus brushs a sensitive portrait of an artist who remained faithful to his inner tim burton tender monster documentary world. “It remained simple, a little clumsy. It makes him endearing. ”concludes Sophie Peyrard who reminds us how much Tim Burton speaks to all those who do not enter any box. Maybe that’s it, the most beautiful: to make a monster, a mirror.