ZEITGEIST PROTEST – A new way of making cinema
I just took a look, again, on the Christophe Karabache’s new movie, in order to develop this review, and the clarity of the first impression came back from nowhere. The ‘minimalist’ style is poignant in this film and works well, which may become in time one of the examples that explains in cinema schools how the method works.
We have here all the principal characteristics of the style – the long and static shots where the focus is left to the actors, the low tone in which the story is told with realist and sincere dialogs, the avoidance of any sophisticated settings or complicated camera work.
But this is not all; the attention of the image director on the visual elements left me without words. We can see there that the red color it’s present like an leitmotif, and the continuous fight of the actors with the feelings they can’t control is the first action line of the movie.
As has already been remarked, the conversation is *boring*, there is no spark of life, of joy, of complicity among these people. But there is something more powerfull: the agony that flows through their body. That kind of agony that makes you search and accept all kinds of human pleasures, in order to extinguish the fire of your pain.
Beyond all the pleasure, pain and feelings we can see that everything in the plot was organized as a metaphor for the inside world of the actors. The getaway from this world comes to light, at the end of the movie, when the two cousins consume their pain in an sexual act.