In 1942, after three years of bringing back dignity to mothers interned in refugee camps and saving the lives of their babies, the Maternity of Elna has been ordered to close it's doors by ... See full summary »
Natalia de Molina
Vital is a 40-years old workshop foreman in a textile factory. He falls in love with the daughter of his boss when she chooses him for an ergonomic study, but their relationship attracts the rage and disapproval of everyone.
Anna misses the flight she should have taken to find Greg in Barcelona. The plane crashes. Taken in the vertigo of a death that has been narrowly avoided, she moves away from reality and the present. As his couple breaks up, Paris becomes the mirror of his distress.Written by
After the end credits, there's a text that reads: "This movie wouldn't exist without the determination and patience of the people whose names you've just read. It wouldn't have been finished without the support of the following names. Thanks to everybody." More names are credited on screen while a final sequence with the main character is shown. See more »
A bewildering trance-like sequence stretched out into a whole film
Anna meets Greg at a disco and after a whirlwind romance, long enough for him to grow a beard at least, he announces out of the blue his intention to move from their Paris home to Barcelona.
Even during this first section of the film, the narrative thread is hard to grasp with many cuts between different times and places - a beach, a park and an abandoned theatre, for instance.
But as the story approaches the doomed flight to Barcelona, things get really trance-like and surreal. Perhaps it all reflects Anna's increasingly tenuous grasp on a reality, which itself now seems to play out against a backdrop of constant and confused civil unrest.
The camera is mostly hand-held and while some of the shots feel too close, others, especially those with actual riot police apparently completely surrounding the action of the movie are exceptional. The camera follows Anna, well played by Noémie Schmidt, pretty much all the way through.
The final result, though, is just too disjointed and voice-overs used throughout the film aren't quite enough to keep things together. For some too, I guess that the frequent strobe effects (perhaps carried through from the disco at the start), might well feel a bit too much. 5/10
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