In "Screening the past" Adrian Martin wrote a piece on "Claire Denis and the cinema of the body": "Recall any single film by Claire Denis, or any aggregate image of the mood and texture of her work as a whole: every thing, every body, is in motion. People in cars (Katerina Golubeva in I can't sleep [J'ai pas sommeil, 1994] ramming her vehicle into that of the theatre director who shunned her), in the back of trucks (little France and her black servant at the start of the central flashback in Chocolat [1988]), moving through the crowds that congregate on streets or in bars (Beau travail [2000], I can't sleep), restlessly inhabiting the insecure confines of a home (Chocolat) or an illegal business operation (No fear, no die [S'en fout la mort, 1990]). And dancing, always dancing, married (with a rare skill and taste) to music that is, each time, perfectly chosen: Grégoire Colin as Alain alone in his bedroom dancing to Eric Burdon and The Animals in U.S. go home (1994), the two black cockfighters in their quarters, moving to the beat of Bob Marley's Buffalo soldier in No fear, no die, and (immortally) Denis Lavant, free at last (or maybe simply dead, draining away) in the no-man's-land discotheque of the mind, as he poses, flirts with his own reflection, exercises, and finally cuts loose, spinning and thrashing to the ecstatic Rhythm of the night at the end of Beau travail …"
http://www.latrobe.edu.au/screeningthepast/20/claire-denis.html