siamo negli anni '40, ad Anversa.
gli uomini che incontra non sono adatti a lei, e lei ha la forza e il coraggio di lasciarli.
se sei fiammingo capisci meglio il film, credo - Ismaele
The most political of the great
Belgian filmmaker Andre Delvaux' ("Benvenuta"/"Belle"/"Appointment in
Bray") films. Though well-crafted and acted, there's a disconnecting
flatness and a lack of subtlety that kept me from being more drawn to its
pacifist sentiments. It's co-written by Delvaux and Ivo Michels. It's
set in Antwerp, 1940, and the language spoken is Dutch.
The apolitical nurse Lieve
(Marie-Christine Barrault) marries Adriaan (Rutger Hauer), a gung-ho
Flemish nationalist, who fights on the Eastern Front for the
Germans during World War II when neutral Belgium became occupied by the
Nazis. In 1942 Lieve shelters in her cellar one of the French leaders of
the Belgium Resistance, François (Roger Van Hool), and soon has an
affair with him. After the liberation her hubby is imprisoned for treason and
she turns to Francois to get him free. Lieve eventually chooses her hubby, who
is released from prison. But when hubby is still in denial about the Holocaust,
Lieve, in 1950, splits with her son and the increasingly crazed Adriaan is left
alone to deal with his inner demons.
Delvaux asks questions over such
things as loyalty and betrayal, and keenly observes the hypocrisy ingrained in
the mediocre wartime society of Antwerp. Lieve acts as the director's alter
ego, someone trying to embrace both the French and Flemish cultures but with
little success. The pic shows that both cultures are fractured with their
jingoistic attitudes and hatred for each other. Nothing earth-shattering turns
up, as the pic frames its scenes in the changing seasons of the lush
family garden and depicts, for Delvaux, the usual inability of both the French
and Flemish cultures to connect.
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