In order to regain custody of her daughter, whom she left in the care of her fortune-telling aunt, Mona must tell a social worker her story. The tale she spins---and the movie we watch---is...
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Isaach De Bankolé,
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Liza's a nurse, seeking love. Her only company is a long-dead Japanese pop star, who turns her into a fox-fairy out of jealousy. Now, every men who desires Liza shall die horribly. Can she overcome the curse?
Károly Ujj Mészáros
Szabolcs Bede Fazekas,
In order to regain custody of her daughter, whom she left in the care of her fortune-telling aunt, Mona must tell a social worker her story. The tale she spins---and the movie we watch---is a wild, surreal adventure in which people are able to project and enter each other's dreams, and our heroine is sold into slavery and lands in a swank, debauched Liverpool brothel where the patrons enact their literary/sexual fantasies with Lolita, St. Joan, and Desdemona. Rendered with dazzling tracking shots, striking CGI effects and a pulsing soundtrack, Hungarian director Szabolcs Hajdu's risk-taking fantasia has style to spare. But under the seductive surface lurks the very human story of a woman who uses fantasy to cushion the pain of life.Written by
Los Angeles Film Festival
Hungarian-German-British-Romanian co-production movie Bibliothèque Pascal (spoken mainly in Romanian, occasionally in English, while Hungarian is used extensively only in a single theatrical monologue) deals with the heavy subject of human trafficking and sex trade, presented through an imaginative world of the main character, (in)voluntary victim of a modern day slavery, who, in her attempt to reclaim custody of her little daughter, (un)knowingly resorts to fairy-talish description of how she met and lost a man who fathered her daughter and what extraordinary powers little Viorica inherited from him, of good causes she followed to accept her foreign (sexploitive) engagement, and of the imaginative way her "services" were delivered. The only mild objection that can be given to the movie is that everything in it, revolving around Mona Paparu, quietly radiating leading character of subdued expression (brought to the screen by brilliant, classically beautiful Hungarian actress Orsolya Török-Illyés), her life, at first as a traveling artist in the puppet theatre, and later as "Jeanne D'Arc" in stylish chambers of the title "library", inhabited with prostitutes for high-end clientèle, impersonating famous characters from literature (ranging from Desdemona and Ophelia to Dorian Gray and Pinocchio) is too nice and polished for the ugly and rough reality the movie deals with--the very same sole objection that can be given to Guillermo del Toro's extraordinarily beautiful, phantasmagoric El laberinto del fauno (Pan's Labyrinth, 2006), in which a young girl escapes from brutalities of life and her ruthless stepfather, army captain in WW2 fascist-ruled Spain, into the fascinating world of her own imagination--confronting guilt and innocence, violence and kindness, coldness and compassion
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