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In 1919, Hungarian Communists aid the Bolsheviks' defeat of Czarists, the Whites. Near the Volga, a monastery and a field hospital are held by one side then the other. Captives are executed... See full summary »
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In an airport hotel on the outskirts of Paris, a Silicon Valley engineer abruptly chucks his job, breaks things off with his wife, and holes up in his room. Soon, fate draws him and a young French maid together.
A family of beekeepers living in the Tuscan countryside finds their household disrupted by the simultaneous arrival of a silently troubled teenage boy and a reality TV show intent on showcasing the family.
Maria Alexandra Lungu,
To describe what happens in it is difficult to condense, there are a few men and a few women in the Swiss countryside, their encounters are aleatoric, and playful. Of all the players Jean-Luc Bideau seems to be having the biggest hoot.
The movie seems to be about everything and nothing, it has its moments of banality, and its moments of charm, and hints of huge significance. Could it be that this movie is about the replacing of old systems of living with existential anarchy, about the promise and pratfalls of doctrinal feminism, about the disintegration of solidarity and its associated tragedies and misunderstandings? It seems to be about all these things and none, almost Dadaist at moments, it's like Alain Tanner on weed. Despite its absolute modernity of attitude it warmly utilises quite a lot of flagrantly beautiful classical music such as Brahms' Second Intermezzo from his Opus 117. Old and new emotional wisdom dancing around one another.
I had to think about this one for a long time before I realised I loved it. It is full of gemstones, humorous little motifs that last a few seconds and yet hint at vast subject areas. Really I think this movie is still way ahead of not just its time, but this time. It is very difficult to tell whether it is reactionary or revolutionary, or dandelion seeds on a breeze. Quite apt that I saw this movie by fluke.
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