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2010: my alphabet ten lexicons

A Serious Man, Joel and Ethan Coen

B ad Lt. : stopover in New Orleans s , Werner Herzog

D Men and gods are , Xavier Beauvois

F antastic Mr. Fox, Wes Anderson

G hostwriter , Roman Polanski

I nception By Christopher Nolan

S ocial Network , David Fincher

S Hutter Island, Martin Scorsese

T oy Story 3, Lee Unkrich

T sar , Pavel louguine

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City Girl, Murnau - Happiness is not in pre

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respectively first and last Murnau's collaboration with Fox, The Dawn City Girl and share many common features. Frustrated love are similar: lost somewhere in the contrast between countryside and city. Both works have yet a different tone from each other, and this difference goes beyond the context of creation - apparently more difficult for City Girl, as explained in the DVD extras. The first film, a masterpiece has long been celebrated, immerses us in the throes of feeling, making the light flicker on the screen. The second, long considered a minor, is less radical: the feelings are most obvious, and life is peaceful now, sometimes disturbing, but never threatened by the shadow of the Expressionist tragedy.

A very dumb speaking Not in City Girl, this dizzy most of the absence and presence. The film loses luster in what it gains in simplicity. The initial data is more basic, in fact, more sociological, since here the countryside and the city meet through two archetypes: the peasant's son and the waitress was fast food. In this already Murnau away from German Romanticism to go to a romantic realism - this probably is telling that commentators City Girl is the first truly American film of German filmmaker.

City Girl gives a modern feel. Perhaps this is due to the ambiguous status of this work, which straddles the silent and talking - there was apparently a talking version that does not reach us. Still, the fighting of light and shadow gave way to scenes more explicit, more theatrical, more precisely speaking.

Murnau's camera fits in perfectly coherent to places and situations. The scenes in fast food, for example, with these static shots that allow customers and waitresses frolic before the metal machine. Then, in the brouhaha (always silently filmed), the game between our two charming characters insensitive to agitation. Or the scenes of harvest, first teaching, then down the long fields of wheat in large shots.

The couple proof against loneliness Countryside and city has beautiful object so if just, are found in two places illusion and disillusion. The rich girl City is in the removal, beauty and oppression of the city to the sweetness and harshness of the campaign. In the streets or fields, our waitress was always the toy of a bleak fate in the hands of cruel men or cowards. Dreams are the same, the city lights on the horizon of cornfields. And nightmares too, which distort the faces, feelings and sift harden hearts.

City Girl, basically, tells the story torque to the test of solitude. In town and country, be two to play with space - and to play his way. Witness the encounter in the fast food: the counter that separates our two characters, machines and the boss who is watching as many events in the game of seduction that came naturally. It is the same when the couple arrived at the campaign and played in the euphoria of the moment, and continue to hide her as if to entwine. Conversely, moments of solitude are those where space is most oppressive. For example when our farmer learns in the midst of the crowd, a newspaper that the price of wheat has to fall: the news is carried in the march of urban indifference. On the farm, it's time for our waitress to be crushed by this in-hospitality. She finds herself in the shadows of empty rooms with the only vis-à-vis an authoritarian father a farmer or lewd.

Yet there is always - and this is even the leg of Murnau - amazed even in this naive realism steepest. The night of power which sees our couple lose themselves and find an opportunity of great plans in the light of lanterns. We find that the presence of vertigo and loss that was the beauty of dawn and spends in City Girl nuanced portrait of a love story surprisingly modern.

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The Aurora - City of Mirages

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The Dawn is the first American film by Murnau, and it also one where the German Expressionist filmmaker is brought to its critical level. It is by playing the light that dangled illusions and feelings shine. Love looks like in the eye of Murnau in existential questions and photographs on the presence and absence of the other or oneself.

Love superimposed The Aurora is haunted from the outset by the battle between the city lights and the austerity campaign. First incarnation of urban sophistication: the character of the brunette who just sow discord in the honest couple. His clothes, his hairstyle, his body - his dance which calls for the vortex picture of the city - is an infiltration of modern disorder in the traditional countryside and peaceful. Everything leads us to an opposition clean and sober Puritan between the true - happiness - and the glitz, the fake - discord.

This opposition soon yet moralizing is bypassed, node feelings shifted: the tortured peasant that we follow, adulterous love is somehow absent. Physically - in her little escapade with her lover - but especially, and at any moment, mentally. The use of the overlay, absolutely essential in this film is one way among many to question the real presence of character in the plan. More room for the present, in all senses of the word, our peasant is caught between what he was - flashback featuring a happy couple - and what that it would be - light of the city and embrace of the vamp overlay.

To love and be loved From this, the genius of Murnau will divert the moral question, to the feelings of our character a marital affair aesthetic and existential. When he sketches the act of killing is the real presence of his wife who needed him as evidence of the eyes and flesh. And this is the beautiful paradox of this Dawn that this gesture, then this lawsuit, leads naturally to the darkness toward the lights and heavy fumes of the city. Instead, therefore, fertile dialogue of love renewed, between being and aspirations, between reality and wonder.

Love in Dawn is literally photographic: it has beautiful reproduce reality, it feeds on dreams, light, changes of plan and background - as our couple in the town photographer, poses in front of a bucolic. Suddenly, drunkenness and eddies of the city are not vectors of chaos, the overlay is no longer an escape, but form the fabric of the present moment, because the feelings deeper and more air. The city lights are no longer sources of ambiguity and ubiquity, they give instead to life a particular place and a specific horizon - a plane and a depth of field.

Aurora in question is safe nun now of truth, fear of the package to commit, the prayer of the wife and soon quit, the sound of bells ring out as an act of contrition. This aurora is the movement of love that renews all things, take a hand in things unseen presence and frees them from the realm of gravity. In this, Murnau like the dawn of the movies a lot.

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Les Petits nightmares of conscience

She is a leftist saucy and exuberant, unbridled denouncing injustices of all kinds - quick to sleep with men the right to convert its question. He is a convinced Jospin, patient advocate and supporter precautionary principle of zero risk in terms of animal epidemics. They mark the territory between them left, Playground Name people , romantic-comedy citizen with Sara Forestier Michel Leclerc and Jacques Gamblin. The tender portrait of the family left, however, was not subject to this film, who wanted both a teaching document, zany comedy, romantic drama and political work. None of this of course in this innocuous romantic story.

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The World on the wire, Fassbinder

Fassbinder little knowledge I had had the World on a Wire an echo buzzing references. In alphabetical order: 2001, Avatar , Fahrenheit 451 , Inception , Matrix , Shutter Island . Let me tell you that I struggled to see in this film the concept of the vortex of the matrix movies anticipation modern, as advertised on the packaging. Already, quite simply, because the future of the World so much the worse that old ones imagined by Truffaut or Kubrick. It was nice to make every effort to conceptualize the decor of the mall, waiting room furniture, the atmosphere of stale tobacco are not the case. And some virtuosity of staging does not désengluent an entire aesthetic soft and cold. First meeting with Fassbinder missed.

NB: Thanks to Cinetrafic for this DVD. The World on a Wire, released October 6 on DVD, is distributed by Carlotta .

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Bad Lieutenant: Port of Call New Orleans, Werner Herzog

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It is amazing how freely Werner Herzog captures the title of the film's story of Abel Ferrara. A violent movie and mystical, which was worth less to her side scorsesien for his race at the craziest bet, between the challenge and renunciation absolute sacrilege. That side, it seems that Werner Herzog plays with fun in the prologue of the film. It shows us our future lieutenant hesitated before making the leap, hesitating before getting wet to save a renegade from his prison flooded. Just before he shows us, with his friend, bet on the fate of the unfortunate. The skit seems to gather into a caricature issues Ferrara's film, as if to release one last time and do something different.

Snake Eyes

One would think this scene brought as an original sin by a snake that we follow in the waters of the prison (the film takes place right after Katrina). Yet it is an act of bravery that opens the movie, and condemns the same time the character. The snake was not the temptation, he was a snake. The rest of the film works by the lowering of the symbolism of evil (snake, bet, sex, drugs) on an animal any animal, sometimes funny, often absurd. But not just any animal: the approach is reptilian, undulating and the ground.

Reptilien, this Bad Lieutenant - Port of Call New Orleans has the air of being featured in his narrative. No path foregone, no descent into hell pending hello, our bad lieutenant advance as desired. Crime scenes, his reunion with Eva Mendes as a prostitute, paris with the bookmaker friend, equipped with a gang of drug dealers, the snake goes where his instinct door. Obsession of the crime to solve not the spirit of the reptile, he turns around as irrelevant, then infiltrates like a worm in the apple, when it is expecting more.

Nicolas Cage is perfect. His playing of statures vaulted, grimaces and laughs hysterically is crazy enough to carry us into something inhuman. Nothing more natural than drugs for this character: while he flees his grief, he finds its most primitive, more animal. And it's something fun with great pleasure Herzog and daring when he takes his camera to the point of view of hallucinatory alligators or iguana, taking the excuse of the drug. Because there is also a playful dimension in this film, the director playing with the different tones, the black cop to the pure comedy (when the lieutenant is out of the woods is treated surprisingly removed, the characters are hilarious successor to his office).

Beyond good and evil

If the investigation itself occupies only a secondary role in the plot of version Bad Lieutenant Herzog is that it does There is no such obsession with sin was in Ferrara's film. The character played by Harvey Keitel saw his life totally skewed by an act of sacrilege (the rape of a nun), which could help bring the guilty for the worst and the best. No notion of good and evil in this Port of Call New Orleans , simply because these values have no place in the natural cycle that governs the jungle. Like, it makes the investigation is stripped of some of its violence, in cutting, in the colors - for something darker perhaps, but more attenuated.

The absence of any guilt invalidates the very idea of hello to the bad lieutenant. There are redemption and social: the only way for the character of Nicolas Cage is to become captain. And yet, the plot does not install at all in a diagram Linear damnation / redemption, but rather in a ring system that imitates nature. When one might think the character saved, there are these visual rhymes that ooze the idea of an eternal cycle. In its beginning and its end, the film nevertheless has a fence that is of a hallucinatory world, a jungle where the dreamy nature of man is always reduced to his animal - fish in a glass of water to our Lieutenant sitting in front of a giant aquarium. The great Christian film by Abel Ferrara, Werner Herzog made a great wandering pagan.

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Magic novel - Harry Potter and the Deathly Hallows (Part One)

After

episodes three and four of Harry Potter film, interest in the franchise was somewhat fallen - Opus the five and six, by David Yates, was gray and flat, devastated by a painless melancholy . With this first part of the final film in the series (it starts to make it complicated), The Deathly Hallows (always by David Yates), it appears that some cracks are open to contributions from Alfonso Cuaron (The Prisoner of Azkaban) and Mike Newell (Goblet of Fire ), have seriously deepened.

For Excellence fiction, adaptations of Harry Potter work when the story is intelligently designed. Times and places were subtly arranged in episode 3. Cuaron had the power to Hermione go back in time the focus of her story in three steps. At this time the game succeeds in the new episode on a job site. With the magic our three heroes go without warning from one place to another, scenic mountainous desert landscape. This is an opportunity passages amazing skits pasted together in sometimes abrupt transitions (the snake's mouth) and sometimes very soft (molten sober to black). Through the magic still places and colors overlap, the here and also available as data and manipulated. It was the merit of episode 4, and play through fittings on the handling and the relativity of points of view. But here it is more a system is that David Yates is happy with the success of breaks and rhythm changes of tone - british comedy in awkward situations, awkward teenager at critical times, nice sequence animation fast mare ...

For Excellence romantic adaptations of Harry Potter work when they leave the spotlight to the characters. Faces otherness and tampering, Harry Potter and the Deathly Hallows is a character who has become more complex. The others are friends whose loyalty is tested by events. They are also the Death Eaters, elves and Muggles - all players who form the semblance of political parable, just enough hold to let the romance take over. And especially this otherness is not fixed, it is there to impose the hero test for impairment. As formerly the Sam Raimi Spiderman, Harry Potter feels the threshold of his adult life a series of physical changes (change in appearance to deformation of the face), always excuses for comic counterpoint. Generally our hero has left the approach and provided a little person with his destiny as the clothes are too big.

David Yates (finally) managed to find the cinema of futility and the mixture of gravity that makes the charm of this modern epic. And perhaps it is no accident that there arrives after two previous lukewarm, as if the mechanics do not work any more romantic film than in the serial mode and patient of the series.

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Small mirrors and large handkerchiefs


Failing to Learn what to think of the new film by Guillaume Canet, I'll just make two assumptions.

Hypothesis: This is a bad movie. Canet tries to save his characters from the cartoon stretching situations until the peaks of trouble, sometimes hilly beginnings of mad laughter. Instead of a true comic sense, he claims to more soul ... We would just have the residual: the mirror and complacent lousy of a band not friendly at all. And in addition they should complain. No fear of pathos, is commendable, but certainly no fear of pathos in this scene that looks like a funeral to the rambling of a narcissistic person imagining his own funeral.

Second hypothesis: the film is a desperate radical. Canet tries to save his characters from the cartoon in which life itself tends to confine them - and the film recounts the failure of this enterprise, not without some laughter. Under the mask of comedy, so there is a drama ... Or a tragedy: the mirror is relentless, the reflection it gives is scary vanity. The picture is even more pathetic that there is nobody to counterbalance the general mediocrity, the trainer practicing jargon grotesque Jean-Louis believed that you can not take it so seriously is like the sandman a childhood dream.

It seems, unfortunately, that the first hypothesis is most likely. But I would not put my hand to be cut - and I'm not the only . Poor or pessimistic Les Petits Handkerchiefs have me in both cases left an unpleasant.

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Back to the XXth century - Unstoppable, Tony Scott

If Unstoppable creates a wave of enthusiasm in some criticism, it's probably for two reasons that this movie is perfect in the opposite cinema reviled the inaction and that sociologizing opposite view is taken in such a sketch that seems naturally to provide reviewers with the tools for its analysis.

True, it is always nice to finally see an action movie that is just what it is. Battery lasts 1h30, we used the railway Fine kids with white teeth, and claims no pretentious speech. Everything, in short, to concentrate on the essentials of film movement.

This seductive moves are as much as paradoxical. This is a basic way to impose a cinema that runs full speed and raw energy that prevails tout sur son passage. There's something modern about this fascination with the monstrous power created by the machine. But there's also a delightfully dated futurism in praise of this action in its purest form. And we realize that, despite the effects breaking news, despite the convolutions of the camera, the obsession with energy looks more like the Raoul Walsh Manpower than any other recent film.

To go further, one could say that Unstoppable part of a tradition that combines contemporary cinema machinery. The Arrival of a Train Station La Ciotat to Duel Spielberg, the film of the twentieth century gave us impressive examples of these metal beasts. Even more frightening, these beasts, they are systems empty, aimless movement of blocks of pure exponential. In the case of Tony Scott as that of Spielberg, the plot is so wiped out that we need only contemplate the mechanical bearings - there is no other subject than the speed the train, there is no other subject that the film as an art movement.

The impression you get custody of Unstoppable is his surprising backwardness vis-à-vis the current American cinema. A cult of the technical power to a thousand places of paralyzing technology of Avatar and massiveness a very concrete that would be enough to lose faith in all the characters in Matrix or Inception . It does not look far at all, even the terribly low brow, but it's a beautiful thing, straight out of the twentieth century.

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Mad Men

Since it is broadcast on Canal Plus, Mad Men the series has become fashionable. The smoky atmosphere, and well gominée undermined this series on the golden age of advertising in Manhattan haunts since the beginning of the spirits, newspapers and blogs. It must be said that the series has a lot to occupy our thoughts: a careful design, characters as mysterious as classy and impressive catalog of pretty ladies. Don Draper, the main character, is a dark troubled past, which speaks to its advertisers as he seduces women. It is in the shadow of this character evolves a seemingly perfect family (his wife, Betty, is sublime) and a galaxy of creative writers and CROs forming the population of the advertising agency Sterling Cooper.

The rest of the article on Again .

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The buried alive - City of Life and Death, Lu Chuan

A beautiful and disturbing work that this City of Life and Death, which begins like a war movie turns into a historical drama and ends in motion dream.

The black and white knows many justifications that the film is phase. At first it's the style contemporary document, energized and blasted by a tight fit. In a second step is the aestheticism of human figures - the dramatization of their destiny. And in a third time expressionism, symbolism, solar power of the Japanese army and the light devoured by darkness.

Lu Chuan's film, which tells of abuse inflicted on the Chinese population of Nanking by the Japanese army in 1937, perhaps half an hour too. Yet no effect The Pianist the methodical description of this tragedy. Lu Chuan dares highlights and musical themes supported. He can afford it because it draws us slowly into a trance, in a reality distorted by the horror, numb with grief, and which provokes a paradoxical beauty.

NB

Cinetrafic Thanks to this DVD. City Of Life and Death is a dvd edited by Seven7, to be released November 23.

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The Castle of the dragon, Mankiewicz - portrait of the aristocrat in nihilistic

There would be a study to (Which may exist already), the gaze of Mankiewicz any form of aristocracy, and what separates it from the rest of humanity. In L'Affaire Cicero, Jack James Mason tried in vain to subvert the order of the aristocratic high diplomacy (1), bumping into the window of appearances and seeing his ambitions soar as many tickets without value. In The Castle of the Dragon , his first film, the ratio is reversed in the sense that the aristocracy is a scary place of solitude, summarized by the tower in which the character of Vincent Price withdraws, and which abuts against the democratic order. Cons the people of pious families, beautiful women (Gene Tierney!) And humanistic physicians.

From this anamorphosis of patroons (landowner from father to son), Mankiewicz is a true portrait of the aristocrat in nihilistic: haughty, atheist, placid ... The castle tower stands upright on a world of appearances, rituals and transmission through blood. Addicted to drugs, but especially hooked on Nihilin (in the words of the master in the field), the aristocrat who despises all life is not given by him, all blood that was not hers. That is what sets these great empty lives Gothic, dark, upright, this is what the character of ice Gene Tierney.

Cinema par excellence, this character is sort of a vampire, the supernatural and less. Again there would be many things to say about the transfer of modern zombie vampire: the vampire - and aristocratic monster solo - against the zombie monster - Democratic and face the crowd.

NOTE:
(1) But I think, here again (after the article by Dr. Orloff and that of Joachim Lepastier in Cahiers) a bridge between the universe and the recent Mankiewicz The Social Network, Fincher: Mark Zuckerberg is working too, through his company uses to hack into Harvard's clubs to make it a universal phenomenon.

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cinephile Questionnaire 2 - Death to the movies

The first questionnaire cinephile which this blog has helped is here. This is the second launched by the eminent Ludovic de Kinematics .

1 - What is the most beautiful cinematic murder?

In recent years, murder and uncertain pointillist Memento .

2 - What's in your eyes the most morbid film maker?

François Truffaut

3 - And the film's most gruesome?

Sunset Boulevard

4 - What is the character whose death on the screen you most excited?

Christopher Walken in The Deer Hunter

5 - She who you most relief?

Christopher Walken in The Deer Hunter

6 - What is your favorite zombie?

Isabelle Huppert

7 - What was the murder weapon, keep you low?

Rope

8 - What personification of death you the most?

Kim Novak in Vertigo

9 - What sequence of burial seemed the least you agreed?

Donny's funeral in The Big Lebowski - " Goodbye Sweet Prince "

10 - What is your favorite Phantom?

The ghost of Mrs. Muir

11 - Have you ever wished the death of a character?

I wished the death of most characters Desplechin

12 - With the approach of your death if you had the time to order in your business, what movie would you be able to watch one last time?

A Fred Astaire or Lubitsch

13 - Which serial killer do you have a fascination or default of indulgence?

Norman Bates

14 - What is your vampire night?

Nosferatu

15 - What movie do you remember from all those whose title (original or translated) refers to the death?

Dead Man, Jim Jarmusch

16 - Write a few lines in the future obituary of a person in film

If you have not mourned his death, you come to Other Bosch in mind.

17 - What representation of capital punishment did you find most striking?

Not the most striking but more recently seen: Changeling , Clint Eastwood

18 - What is your favorite cemetery?

No cemetery preferred.

19 - Do you property in connection with the cinema that you could sleep in your will?

My Hitchbook?

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Arizona Dream, Emir Kusturica

Then he makes a ramp to launch its planes in the sky of odds and ends, we see Axel (Johnny Depp), the main character of Arizona Dream, plant posts using d a big wrench as a hammer. The staging of Kusturica is a bit like this: take tools and tap with, hoping they will eventually walk. It is both endearing and exasperating. Schoolboy homage to American cinema, daydreaming teenage vase, existential drama, burlesque music - not only the harmony is not sought, but Kusturica takes a perverse pleasure in using the genres bad advisedly. One has the impression of an unpleasant dream forced.

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Nothing new under the sun Woody Allen

You Will Meet a beautiful dark stranger begins and ends with a quote from Shakespeare: "The world is a story Told by an idiot, full of sound on fury, Signifying nothing and . So far nothing very original in the work of Woody Allen that is happy pessimist. The story in question, full of sound and fury, entangled paths of several characters: Sally (Naomi Watts) and her boss gallery (Antonio Banderas), her father (Anthony Hopkins), his mother (Gemma Jones) and his husband writer Roy (Josh Brolin). Behind these intrigues, which in fact mean nothing - and that is precisely not there for that - it is inconsequential as a variation on Ecclesiastes.

The rest of the article on Conversationalist .

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Mark my word, it means now every month, around 15, a table summarizing the critical views of some twenty bloggers and bloggers. The ratings form of stars contain a link to the relevant texts. The idea is the indispensable Ed, Nightswimming. To access the table, you must click the esoteric symbol below.

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Fuck me I'm facebook! Material

a pub at Harvard. The warm colors is neutralized by a photograph too smooth. There's a window between the young Mark Zuckerberg and his girlfriend, who is to explain that, more than a nerd , it is basically an asshole . Event presented to us as the founder of the scenario of The Social Network is less footprint on the character of interest (the psychology of small-time geek) the mixture of obsession and estrangement, emergency and immobility, of malice and sentimentality, it will spread to the rest of the film. The digs at Harvard also became a place of retreat and place of conquest.

The drama seems surprisingly absent from this film that tells the accession, however dazzling the rank of a little fellow billionaire bent over his keyboard. David Fincher and screenwriter Aaron Sorkin, do little to play emotional levers of success story. Maybe tell the story from the trial scenes - which take place long after - is a detached manner analytical and freeze the account of the creation of Facebook. And the film will only develop the original scene in the student room exactly where Mark established Facematch.com drunk, with the background music from the student party to which it is not. From the beginning, there is the starting point and ending point. From the beginning there's this over-saturated atmosphere this place and unnecessary energy. From the beginning there is the containment and ubiquity. From the start Facebook is created.

So never mind if the rest of the film does not entirely neglect that promise and put some tracks Directed launched here and there: we always excellent actor Jesse Eisenberg whose playing expresses very precisely the balance between enthusiasm and improbable impassive. We still also gentlemen Harvard which Mark is accused of stealing the idea, and are conveniently placed there, as the attractive idea to spread that Facebook is a great hacking behaviors aristocratic culture club, network, chat, cosmopolitanism and the deification of appearances.

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White, Claire Denis

A chronicle written Kinok

The comparison is preposterous, but White Material has something a Out of Africa reversed. The romantic plot gives way to the rout family, voluntarism to the tragedy, African Dream African nightmare. This is also probably the story. In a mysterious African country, Maria (Isabelle Huppert) decides against all odds to continue to manage its coffee plantation, despite the raging civil war.

Nightmare, the story of White material was something disjointed, as if to signify the state of decomposition of a continent where violence reigns, and where wars are no succession without consistency. The characters actions sometimes absurd, sometimes mysterious. The narrative thread begins in situ, seems to stop, then restarts without warning. No indication of place, a vague political context (the current government against rebels led by "The Boxer"), a vague family context as Maria Vial, manager of the Coffee Plantation Vial, Emmanuel and his son played by Duvauchel.

This lack of direction leaves us with a monstrous universe. The characters are is too transparent - greed, lust for power spread over the faces exalted - or frankly opaque - perseverance unexplained Maria, Emmanuel nihilistic getaway. What remains are people who fight, or earn money as they can.

An absurd reality, quite raw, yet leaves room for fantasy. Perhaps it is the great strength of the film: the ability to make this a fantasy general rout. The chronology of events is not clear, the narrative is hit with narcolepsy: the dream sequences apparently fit naturally into the debacle. The haunting tone of the music (?) Is not for nothing in the installation of the hallucinatory atmosphere. The war rages on in silence, bodies are numb with grief. If violence is muted is that it is a soft drug, which leads us quietly in a daze. Even the rhythm of reggae, that one sometimes hears, has the nostalgic look limp and a quiet march toward death.

In this gruesome picture, the silhouette of skeletal and disheveled Isabelle Huppert is very suitable. It is this coldness, this fundamental lack of generosity in the game of French actress, (we can not help but imagine intellectualizing his role, his character theorizing). This is great in a sense, because that's how Maria is thoroughly chilling best in this world and into the fire and blood. But still, there is even less sensitive to violence, the defeat in war, and that this character keeps her face hidden behind too blonde, too northern (the "white matter in question"?) And all sense sensation - even when she cries or when she cries.

Do not even mention Nicolas Duvauchelle and his portrayal of teen thirties. From the outset, we do not really know if it is only the credibility of the actor is missing, or if the character is too crazy to be likely. It is "like a dog," someone said. And it's true that theatrical, made his mini warlord, then ends in an orgy of drugs with her friends child soldiers. Either.

In sum we get a confusing film to a terrifying world of violence fluid and serene. But Claire Denis managed to install this universe of characters for the price, the price of the plot, at the expense of depth of field - at the cost of any decision of any attachment to the viewer.

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The Man from London, Bela Tarr

The Man from London is an adaptation of a book by Simenon. The book is very short, the film is very long. Same title and same plot though. We follow the character Maloin, a dispatcher who works at the station port. Height of his cage, he catches a flight coupled with a murder. Two shadows are struggling, fighting over briefcase, until one of two figure rushes the other in the harbor water, leaving the desired object disappear with him. After waiting a bit, we retrieve the briefcase down switcher - and he takes ill ... What is curious in this adaptation is that the book is more cinematic than the film. For what is more film noir than this intrigue? The witness at the scene of the crime, tainted by evil as anything the look, how to start more cinematic?

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