Director Emily Atef’s Can Un Certain Regard drama More than ever A cautious, gruesome, tradition-of-quality film about impending death that is easy to admire but doesn’t exactly pack.
Vicky Cripps is fascinated again, here in the role of a woman suffering from a potentially fatal condition in her early 30s who travels from France to Norway fjords and tries to cope with her unfair situation in life. It’s a completely honorable and respectable piece about facing your own death long before your expected time, but still something that most people don’t think about.
Especially in Europe, the film will be remembered as the last feature of the performance of the popular French actor Gaspard Uliel, who died on 19 January in a skiing accident. Hannibal Rising As well as the title character of the biopic St. Laurent. Sadly, the image of death hangs over this picture, which is more than what was supposed to happen.
Every element of Atef’s fifth characteristic is clear, primitive, civilized and well thought out. Helen’s lung disease is very serious, and can probably be treated with a double lung transplant – not an easy thing to arrange and the guarantee of success is far away.
Frightened and uncertain, she is disturbed by some of her boyfriend Matthew’s argumentative reactions and explosions; In a long intimate scene, he starts foreplay and wants to make love but is suddenly and anxiously overwhelmed by a violent cough. Things don’t look good and Matthew isn’t always sensitive to Helen’s needs and serious ups and downs.
From the outset, it was clear that Atef meant spending his own sweet time with the play, which was characterized by its ever-changing mood, proximity to medical emergencies, and the challenge of effectively reconciling a young couple. The director on the brink of death means to plunge you into the immense difficulty of facing such a predicament, both for the victim and for a young, healthy companion who understands the challenge of peeking into the abyss by looking at a mountain.
Matthew, who appears to be less mature than Helen in all respects, may be annoyed at some of his attitudes and rational responses to his needs, so it is not entirely surprising that, after rejecting any immediate and radical treatment, he abruptly decides to leave. . To compress his condition in a remote part of Norway and to think on his own. Resigning, he concluded, “I have no future.”
If the lonely escape to the edge of the earth is what he is looking for, Helen finds it in the right place – a lonely fjord on the Norwegian coast that looks like it has not been seen by outsiders since World War II. The hut he was found living in in Dallasford is more like a cave, with no Wi-Fi, the water is cold in mid-summer, and the sun rises just before 4:30 in the summer.
The only local in the evidence, a brutally involved adult-timer (Bjorn Fোlberg), helps him in times of need and brings some welcome humor to the table. But when you think that this lonely time will provide reflective time, Helen seems to want to adapt to her fate, Matthew comes up. A slow-build and protracted love scene provides a catalyst for the couple to reconnect, and the film is basically silent for the last 20 minutes or so.
More than ever Both are somewhat annoying for all surviving arguments, but also wary of the many dynamics that flow from a turbulent situation that is deeply painful and provoke a situation that no one can be prepared to face. As always, it’s amazing to see Cripps as a woman who’s always had a serious concern that you might not even get to your worst enemy.