The action takes place in a possible country house, surrounded by a forest just as possible and undifferentiated. The lack of a continuous one to the other, or edit precipitous delimits fields airtight. The house would amount to both the heart of the village or along the country if we are not informed otherwise. We must believe. Each of these spaces is a theater scene, why not? From the forest to the house, a square of lawn, surrounded by a wall that is not perceive that the inner surface, provides how to transition. In this piece of enclosed garden, facing the door, our tree does not stop losing its leaves in a fall on purpose. Tones, a light golden slice behind the gloomy interiors, in a house which is difficult to understand the arrangements, the matter becomes a game of contrasts and differentiation. These biases mean something then. Is there a closer look?
not. Already the poster said too: look, the tree is only a shadow! The tree will then exist, each crystallize upon him the statements of his soul laid bare. Characters, meanwhile, will not leave the part they have been drawn. Can you live without shade? I followed mine on the sidewalk while ago, glad to see us rid of the gloomy skies of winter that you nimbent a lurid glow - without shadows. In film, if the scenario defined exactly, the character will not come out of the screen, narrow in its two dimensions, embarrassed the armholes. He can lift an arm, raising an eyebrow without anyone thinks: "Obviously, because" ... The characters gain in thickness to define a little hollow. The paradox is only apparent. This hollow point, the fictional magic fills better than a speech.
In Tree and forest , everything is explained, all have their place, nothing is left to chance. The music also must necessarily make sense. She captures the character of further interpreted by Frederick Guy Marchand. It is not only his taste for Wagner and each extract Ring superimposes a speech on the image and emphasizes state or intent. Marianne (Francoise Fabian) is in an explicitly. We can find others like this in the prelude to the Rheingold , work itself regarded as the prologue exposure of the three "movements" to follow. How? For these characters finally freed from their confinement inside, it all starts in the end credits? Hey! yes, it will be understood.
In this film cut in line, he is one that derives its mad ahead of the game I had not studied the distribution before seeing this movie, so I found with surprise and happiness. Once and quickly cracked the family secret, only an outsider to it could renew a semblance of dramatic tension. And this ex-stepdaughter reveals both less and more in this story what others do not want to put - much better than a stooge, safer and healthier. Catherine Mouchet gives a bit of breath at work, in particular his diction, trailing such an emphasis on syllable or ends of sentences as outstanding. It is a beautiful character she serves us there in three or four scenes, the simplest and most free time. His intentions are also the least expressed. We could judge moved his way to stay with these people who do nothing binds them so actively listen, to try to extirpate from others what they have buried, to choose exactly the music that will make them cry . But I think wanting to pull his own side of freedom.
We do not see enough. You do not hear enough. It transforms each of his lines but I finally regrets his presence, because in me so much frustration when the camera leaves her. And finally I could sadden me what a good big topic necessary like this has not led to more attention and finesse.
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