A filmmaker's inquiry into transcendence becomes a three-hour trip across countries and cultures, interconnecting people, places and times. From Toronto, the scene of his childhood, Peter ... See full summary »
Plotting on a payment they are about to receive, residents of a collapsing collective farm see their plans turn into desolation when they discover that Irimiás, a former co-worker who they thought was dead, is coming back to the village.
Bruno Scissere, a heroin addict who has been confined to a psychiatric rehabilitation clinic for several years, has finally been released. He has spent most of his life in similar clinics, always released only to return again. Frightened and unsure of his identity, he prepares to go back into the real world. Outside of the clinic, he observes three different people at a bus stop and begins to perceive himself living their lives for a single day. One of the three people is also a heroin addict, a wretched figure who steals to get his next fix. Another is a young mother who leaves her three-year-old child with a friend so she can have a short holiday, just a day on her own. The third is an entomologist in his laboratory who makes a breakthrough discovery of a rare species of moth. Written by
This is impressively intelligent film-making from a roughly 24 year old Mettler. We have a film that basically matches its subject matter with its form (about drugged perception, structured in a drugged manner). This form=matter notion alone is rare enough for a young filmmaker to deliver and deserves applause. But the actual subject matter could have been chosen more intelligently - the three story lines within the main frame aren't of much interest, particularly the entymologist one... and things could have been drawn out a bit more clearly. It seems sometimes as if Mettler was shooting for obscurity. But the same ideas could've been carried out in a clearer manner nonetheless.
The last few minutes of the film are quite thrilling in terms of editing and shooting and it's all very well amplified by the sound. That final shot is still poignant even if it could've carried more meaning. A credit to Canadian cinema... too bad audiences just aren't willing to go through much of this abstraction in cinema. And evidently never were and this is unfortunately still pretty obscure.
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