One of the hottest under-the-radar titles to emerge out of the 2021 Cannes Film Festival was Dubrovnik-born filmmaker Antoneta Alamat Kusijanović’s feature debut “Murina.” The film came to the Directors’ Fortnight with the imprimatur of executive producer Martin Scorsese and came out winning the Camera d’Or, the festival’s top prize for a first feature. With those recommendations, it’s baffling to find about a young woman’s blossoming sexuality under the spell of her mother’s old flame.
“Murina” sticks to familiarly opaque arthouse beats despite a dazzling symphonic opening sequence. And what an arresting sequence that opening is: In the capable hands of cinematographer Hélène Louvart, the film fades into an underwater shot of a rippling, cyan Mediterranean surface. It’s set to a stir of strings(from composers Evgueni and Sacha Galperine) that build toward a moment that feels like a cinematic overture. We then see two people,...
“Murina” sticks to familiarly opaque arthouse beats despite a dazzling symphonic opening sequence. And what an arresting sequence that opening is: In the capable hands of cinematographer Hélène Louvart, the film fades into an underwater shot of a rippling, cyan Mediterranean surface. It’s set to a stir of strings(from composers Evgueni and Sacha Galperine) that build toward a moment that feels like a cinematic overture. We then see two people,...
- 9/13/2021
- by Ryan Lattanzio
- Indiewire
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