A beautiful summer day. A garden. A terrace. A woman and a man sit at a table beneath the trees, with a soft summer wind. In the distance, in the vast plain, the silhouette of Paris. A ...
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After the wild life-style of a famous young German photographer almost gets him killed, he goes to Palermo, Sicily to take a break. Can the beautiful city and a beautiful local woman help him calm himself down?
A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film... See full summary »
A beautiful summer day. A garden. A terrace. A woman and a man sit at a table beneath the trees, with a soft summer wind. In the distance, in the vast plain, the silhouette of Paris. A conversation begins: questions and answers between the woman and the man. It deals with sexual experiences, childhood, memories, the essence of summer and the difference between men and women. It illustrates both, feminine perspective and masculine perception. In the background, inside the house that opens onto the terrace, on the woman and the man: the writer, in the process of imagining this dialogue and typing it down. Or is it the other way around? Might it be that those two characters over there tell him what he's putting down on paper: a long, final dialogue between a man and a woman?Written by
Neue Road Movies
Driven by completely random, shallow and pretentious attempt at a philosophical dialogue, this film absolutely knows what it's going for - it is meant to torture the spectator. Perhaps the film invokes the desperate feelings of its writer character, it just fails to keep your attention and it takes pride in doing so, boasting about it and rubbing it in your face.
"No action, only dialogue!" I get it, dialogue-driven films that resemble plays can be brilliant. The Before trilogy, or Carnage are perfect examples of it being done right. If you are aiming to ignore action and focus on dialogue, the dialogue better be amazing and engaging. Here it is not.
The fact that this was shot in 3D is even more mind-boggling. What led to this decision? Was it a streak of 3D movies by Benoit? A '3D' factor in a dialogue-driven film is concerning straight away as it tries to engage the film-goers by a different means where it fails to in traditional ones. But at the same time, it could also help to elevate it to a different level if done right. Here it is just left completely untapped and is only an additional burden.
Interestingly, the third act and the final few minutes are particularly interesting and engaging, unfortunately it only leads to nothing at all.
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