in
italiano, se fosse mai passato in sala, si sarebbe potuto chiamare
"L'esilio".
si tratta del secondo film di Andrey
Zvyagintsev e, come "Il ritorno", è un film misterioso.
è girato fra Belgio, Francia e Moldavia, nel
film non esistono luoghi riconoscibili, non ha tempo e allo stesso tempo
universale.
non si sa niente di quello che è successo prima,
si può ipotizzare che l'esilio sia dovuto all'esigenza di "cambiare
aria".
non succede molto, e però ci sono storie che non
riesci ad abbandonare.
il punto chiave è quello che succede a Vera,
mistero nel mistero, e quello che lei dice.
non adatto a chi ha fretta e a chi non ha tempo
di ragionare.
per gli occhi è una gioia, una perfezione
formale rara e accurata, come solo i grandi registi sanno e sanno fare.
cercatelo, potrebbe piacervi molto - Ismaele
Tre Film Al Giorno, Tre Libri Alla Settimana, Dei Dischi Di Grande Musica Faranno La Mia Felicità Fino Alla Mia Morte. (François Truffaut)
sabato 18 aprile 2015
Izgnanie (The Banishment) - Andrey Zvyagintsev
…The Banishmentis a slow film, one that demands patience,
consideration, and your time. If you can’t meet these demands, the film won’t
meet yours.
…With so
much drama at its heart, The Banishment is at times a painfully slow film. It's
par for the course for great Russian fiction but will nevertheless frustrate
some Western viewers. What saves it during these stretches is magnificent
technical work. It's lovingly shot in deceptively muted shades, the colours one
scarcely sees like the fragments of other people's souls which we overlook when
we perceive them only in relevance to our own lives. Its sound design is the
best I've encountered for years and brings the whole thing to life in a very
visceral way, really creating the sensation of being there. This is sound and
vision crafted not simply for the sake of beauty (though it certainly works on
that level), but for the solid contribution it can make to this deceptively
complex moral fable…
…The Banishment sound like a conventional dramatic
thriller – and in many respects it is – but the difference is in the way that
Zvyagintsev approaches the film and depicts it on the screen, and there it’s
anything but conventional. Despite the initially slow pace, the economy of
words spoken and the suppression of deep emotions, the significance of these
two key moments and how they drive the subsequent events is fully explored and
expressed in other ways, in the weather, the rain, the heat and the dust, but
most notably in the desolation of the countryside, where the house that once
belonged to Alex and Mark’s father sits perched on the edge of a ravine…
…The
Banishment may
initially require more patience than its predecessor, but the character detail,
the imagery, the subtle performances and the precise use of sound all texture
even the smallest moments. Every element is given new meaning by the direction
the film takes in its final hour, culminating in a multi-layered reverse of the
opening car journey and a final shot that literally sings to the strength and
suffering of women. It's a boldly confident ending to a haunting, impeccably
handled second feature, and one that should have all eyes on just what
Zvyagintsev will do for an encore.
…Zvyagintsev creates a dreary mood piece, sustained
with tension and a deeply burdening excavation of secrets and silence. There’s
an exploration of miscommunication here, not lies. The unspoken becomes just as
virulent as falsities; the emotional estrangement between people becomes a
source of dehumanising decay. The story of family is timeless in its essence,
but intermittent, it’s intrinsic morality however, is everything…
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Commenti sul post (Atom)
È il film di Zvyagintesv che mi è piaciuto di meno (probabilmente non ho avuto il tempo di ragionarci a dovere ;)... Però le musiche di Arvo Path mi hanno emozionato moltissimo, da pelle d'oca!
RispondiEliminal'ho visto più di una volta, la prima non capivo troppo:)
Eliminae la musica è bellissima, hai ragione.