Jessica Chastain and Peter Sarsgaar in memory of Michel Francod
In the depths of the soul that hides from the sobriety of the son of cinema, Michel Franco et laisse pénétrer la lumière et accessed, osons l’écrire, à une forme de grâce.
Black as a souvenir, transparent as Oubli. Memory This is a film that you separate from contrasts and can be installed, and laisser planer presque constamment, étrangeté, une ambiguïté, renforcees par une volontairement elliptique, comme un écho à la memoire trouée et lacunaire de ses deux personnages. “Sol’s recent memory effilent, in charge of the souvenirs, reconstructs my Sylvia inventions.” Convince that violence during study can confront the impossible that it is so, she is wa without shelter when she is on bail, her outfit presque magnetic, et d’autant plus surprenante au vu de la The severity of post-traumatic stress disorder is not a problem.
A tabloid film that causes problems
Qu’a reconnu, ou trouvé, chacun en l’autre? This interrogation represents the first aspect of the film, the most cerebral, familiar territory with Franco not knowing what l’énigme et l’incongruité is. In his native film there are indexes and objects, but the matter of a subtle image is not to be in empezer – one notable scene with a corresponding exception, not requiring frontality, reckless with the strategy of his horses, privileged champions, It is uselessly reinforced by the cruelty that pulls along the rope crauuté coutumière du cinéaste. The function of the Chacun family, the basis of the defense of insincerity and sincerity, is something like avoiding encounters with very traumatic personnel, but it is also the unification of experience and soul, an affective security that cannot be franchised. pas de la liberté.
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Memory It is both forward-looking, a film made in the spirit of progressive simplicity. Since we do not understand Franco, this is precisely what is correct to understand about this nascent love, because he gradually overcomes obstacles. Feelings can be incredible on Earth, plus incredible and imposing their own logic. Jessica Chastain and Peter Sarsgaard focused on the relationships and gestures of the two interpreters, a stage of grace in which Franco found a cinematic language that was equally transparent. It’s all simple: the New York assistant, il donne parfois l’illusion d’etre in a Woody Allen or Noah Baumbach film, has to do with the dramas in my viewer’s limbs. Bien plus que les retournements, ce sont la Confance qu’il Place en Cette Histoire, et le Magnetisme qu’il érige en fil Conducteur, au-delà des complexités narratives, qui rendent ce movie troublant régulièrement bouleversant.