After a series of celebrated short films and his fiction debut Mercuriales (2014), French filmmaker Virgil Vernier has brought his sophomore feature Sophia Antipolis to Locarno’s wonderfully-titled “Filmmakers of the Present” section. A psycho-geographical, state-of-the-nation survey that centers solely on the eponymous, strange and tacky business park, Vernier’s film—shot on gorgeously grainy 16mm film—moves with the momentum and anxious ambiguity of a chain letter, from character to character and detour to detour. During this fourth week of August, some of Sophia Antipolis’s permanent residents seek spiritual salvation, and others seek vigilante justice. All remain desperate, and deeply dissatisfied. I spoke with Vernier to break down the irregular rapport of his beguiling and often elusive Sophia Antipolis—a film of speculative spontaneous combustions that at the same time feels highly modern and mythological, and, in its boucler la boucle, both begins and ends with the inexplicable. Notebook:...
- 8/21/2018
- MUBI
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