After a disappointing Invictus, where we saw the classic flirting with some effete consensual, it is very nice to see Clint Eastwood revive this persevering audacity that makes the charm of his filmography.
In disaster movies, the tsunami generally happens at the end, after the crescendo of warning signs. In Beyond - as in reality - the reverse occurs. Everything begins with the tsunami, came to men in their lives daily, just like the inhabitants of Pompeii. Marie, the French journalist played by Cecile de France, is itself caught and literally sees death. The silhouette of a woman struggling in the water with shadows in the light it sees at the moment of death, as there are aesthetic continuity that affects the whole film. The heroes of this Beyond beings are brushed with death and fixed by it in a spectral state.
Apart from the few intrusions of the paranormal, as visions rather sober, the beyond unfolds in the film as a vital staging. Eastwood seems to have made this observation of phenomenologist that death can help to illuminate life. The imminence or the memory of tragic events is a great excuse to show us a fresh look at the simplest things: the loneliness of a man, the love of two young boys to their mother, the decline of a relationship ....
It is as if, in Beyond , death alters the light to reveal more in return. Paradoxically lowering light Eastwood manages to give better shape and embossed faces. It is by masking the eyes of the character Matt Damon saw the birth of his feelings for his buddy cooking classes. This highly successful stage where the two characters are the ingredients to taste rather like the blind challenge of the film - be felt in the dark which was not visible in daylight.
But, particularly today, a dark mirror that shows us death. There is an obsessive dimension in these portraits of fascinated, almost blinded by the question of the afterlife. God is totally absent, it fell place at a meeting of charlatans, that unfolds, facing the small Marcus. With the Internet to answer questions, required to live a virtual screen which gives a surreal, almost fake, to certain scenes. Cecile de France and went to visit his institution in the Alps a doctor who specializes in near-death experience - the views of the nursing home seem out of a pub for spa in Switzerland. In their lack of reality, the scenes taking place in France are definitely weak points of the film. But this very weakness goes rather well in the second state in which the journalist swimming and struggling since the beginning of the film.
Death in Beyond ambivalence that resembles the photograph of the American flag planted on Mount Suribachi, in memory of our fathers . It is both an opportunity to stage a humanity timeless, poignant and heroic, and to show the reverse morbid with these characters who live their past as a disease. Clint Eastwood has made its presence beyond the light as much as a curse, with a realism that finally tells more about life than death.
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