{"id":1196,"date":"2026-06-02T16:07:44","date_gmt":"2026-06-02T16:07:44","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=1196"},"modified":"2026-06-02T16:07:44","modified_gmt":"2026-06-02T16:07:44","slug":"a-rimbaud-review-patrick-wang-returns-with-the-best-three-hour-one-man-biopic-youll-see-this-year","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=1196","title":{"rendered":"\u2018A. Rimbaud\u2019 Review: Patrick Wang Returns With the Best Three-Hour, One-Man Biopic You\u2019ll See This Year"},"content":{"rendered":"
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\n\tSix decades ago, David Lean ventured to the sprawling sandstone mountains of Wadi Rum to film the world\u2019s most interesting canvas: the human face. This credo is not dissimilar from that of Winnipeg-shot \u201cA. Rimbaud,\u201d the latest micro-budget feature from American indie virtuoso Patrick Wang (\u201cA Bread Factory\u201d), whose contained, stripped-bare, three-hour biopic of French poet Arthur Rimbaud plays like a black box \u201cLawrence of Arabia.\u201d It\u2019s wonderful and fascinating.<\/p>\n

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\n\tWang\u2019s Peter O\u2019Toole is a young man by the name of Blake Draper, who you probably haven\u2019t heard of, but who delivers a towering performance spanning several decades. The director\u2019s Alec Guiness and Omar Sharif, however, are musical instruments, for \u201cA. Rimbaud\u201d is also a remarkably esoteric one-man show rendered in impossibly cinematic hues, yielding an appropriately sui generis<\/em> rollout (a months-long engagement of only one weekly showing at New York\u2019s Roxy Cinema).<\/p>\n

\n\tMere minutes into its gargantuan runtime, Draper\u2019s Rimbaud adjusts the camera to make himself look diminutive, in order to recall a story from when he was a child. It\u2019s about the only time the fourth wall is broken so brazenly, but it speaks to Wang\u2019s postmodern approach to the big screen \u2014 which is notably anti-Lean, who believed tools should be invisible \u2014 and to the manner in which \u201cA. Rimbaud\u201d embodies the spontaneous mischief of the French surrealist\u2019s work.<\/p>\n

\n\tSet throughout the late 19th<\/sup> century, the movie follows Rimbaud\u2019s burgeoning youth through one-sided dialogue which, although it accommodates invisible responses (\u00e0 la <\/em>Han Solo responding to Chewbacca) can only do so much to overcome this self-imposed restraint. Yet it\u2019s utterly captivating to watch, in no small part because Draper balances theatrical expressiveness with nuance for the movie camera. He makes each scant, minimalist set feel fully alive, with an ambitious glimmer in his eye. However, this gradually fades as Rimbaud goes from an adventurous youth in London and Paris to a forward-thinking colonial envoy in Algeria decades later \u2014 a passage of time marked by theatrical lighting cues \u2014 and Draper\u2019s performance turns inward, becoming meaningfully introspective.<\/p>\n

\n\tWhere most conversations are half-silent, important figures in Rimbaud\u2019s life are embodied by musical instruments, ranging from overbearing tubas to melodic strings, depending on who\u2019s speaking and their place in the story. However, each of their shapes, conjured like the adults around Charlie Brown, is completely distinct. It\u2019s an oddity that, at on the surface, gels with Wang\u2019s bare-bones approach born of financial necessity \u2014 shooting in a confined room with stage flats is a lot less expensive than hiring a thousand of extras \u2014 but this formal inventiveness proves apt, and eventually, necessary to tell this particular story. Wang digs into Rimbaud as a deeply lonely figure, and ensures that the isolation of this stage-like setting becomes a palpable formal boundary.<\/p>\n

\n\tThere are always people in Rimbaud\u2019s vicinity (chairs move independently of him, and objects are passed his way through sleight-of-hand) but rarely is he able to fully connect with them. The other side of this coin, however, is that Wang and cinematographer Frank Barrera tether us so closely to Rimbaud that we have no choice but to empathize with the brash ingenu \u2014 even though, in his constant desire to escape and explore, he always seems to leave loved ones behind, setting himself up for inevitable regret.<\/p>\n

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\n\tDraper, who speaks in a pronounced English accent (except for French words and names), brings an appropriately poetic mood to the verbose dialogue, ensuring that the words written by Wang seldom feel different from those penned by Rimbaud himself. Many of his poems are spoken at length, practically turning \u201cA. Rimbaud\u201d into a bizarre version of a modern, estate-controlled music biopic about a pop star, where half the reason one might buy a ticket is to see earworm hits recreated from the ground up.<\/p>\n

\n\tHowever, even for the Rimbaud-faithful in the crowd, Wang never seems satisfied with rote presentation, and warps the confines of his form with magnificent imagination. Some of the poet\u2019s most hallucinatory imagery seeps through the corners of the screen. Poems like \u201cThe Drunken Boat\u201d become as much about the words themselves as they do Rimbaud\u2019s impassioned telling, which conjures sounds and even natural elements from outside the frame, as the camera remains transfixed by Draper\u2019s impassioned delivery. Few filmmakers have so understood that poetry is as much performance as it is writing. <\/p>\n

\n\tOther works, like \u201cVowels,\u201d see Rimbaud\u2019s synesthetic framework adapted to the texture of film itself, as a medium that can freely rotate about a visual axis, if its director so chooses. In effect, \u201cA. Rimbaud\u201d starts out as the kind of movie Rimbaud himself might have made, had the technology been invented; Wang even blends the boundaries between other visual mediums by turning motion blur into painterly brush strokes. It\u2019s quite a joy to look at.<\/p>\n

\n\tGranted, at nearly three hours in length, the film is also incredibly demanding \u2014 especially its initial half, which, by its nature, becomes a recursive cycle of directionless youth that Rimbaud struggles to break. Intentionally or not, it\u2019s a challenge to sit through, but it also has a secondary effect. By the time it slows down, and becomes more tonally and formally serious during Rimbaud\u2019s travels as an adult (when he also speaks fluent Arabic), the film pulls a remarkable switch. Not only does it gradually accustom viewers to its aural idiosyncrasies \u2014 we become entirely used to dialogue manifesting as music and silence \u2014 but it also takes a distinct turn towards a more traditional, more classical visual staging, in a way that ought not to be possible for a film like this one. This happens by way of Draper\u2019s closeups, which are so unyielding, so tactile and so thoughtfully layered by Barrera\u2019s conscientious lighting and warm, visceral 35mm photography, that they\u2019re indecipherable from closeups in a traditional studio picture \u2014 not to mention, just as effective, as though Wang had found some secret avenue to the soul.<\/p>\n

\n\t\u201cAny language can be yours,\u201d Rimbaud advises his younger sister at one point, referencing the rigorous study that led him to become both a polyglot and a well-liked diplomat. However, this message feels initiated by Wang himself, as though he were spelling out a filmic manifesto on his uncanny wielding of cinematic form. The maddening emotional impact of \u201cA. Rimbaud,\u201d in its final act, is no different from that of even the most lavish Hollywood epics, but its most intimate transmissions are born of the kind of maverick indie spirit that demands a complete re-orientation of audiovisual language in a way few modern experimentalists would attempt with traditional technology. It\u2019s a look back at the old, established forms of storytelling that breaks them open from within, practically forcing the box of cinema to take new shape as Wang transmutes what\u2019s expected, and what\u2019s possible, with a camera, an actor and imagination. \u00a0\u00a0<\/p>\n

Read more Sakanishi Miiku Makes His Tribeca Debut With a Film About What We Forget, Clip Unveiled (EXCLUSIVE)<\/a><\/p>\n<\/div>\n<\/div>\n

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\t\t\u2018A. Rimbaud\u2019 Review: Patrick Wang Returns With the Best Three-Hour, One-Man Biopic You\u2019ll See This Year<\/p>\n<\/h2>\n

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\t\tReviewed at Roxy Cinema, New York, May 26, 2026. Running time: 175 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \n(U.S.-Canada) A Hardball Entertainment, Thin Stuff production. Producers: Fritzi Adelman, Daryl Friemark, Evan Johnson, Patrick Wang. Executive producers: Frank Barrera, Michael Bevins, Kyle Bornais, Blake Draper, Galen Johnson, Victoria Sidebotham, Amy Williams.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector, screenplay: Patrick Wang. Camera: Frank Barrera. Editing: John Gurdebeke. Music: Dan Schlosberg.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nBlake Draper. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    ‘A. Rimbaud,’ Indie maverick Patrick Wang\u2019s first film in eight years, is a form-breaking tale of a 19th century poet.<\/p>\n","protected":false},"author":1,"featured_media":1195,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[1176,1177],"class_list":["post-1196","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-a-rimbaud","tag-patrick-wang"],"yoast_head":"\n\u2018A. 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