вторник, 8 сентября 2009 г.

Frontier of Dawn Mobile

Detached, insular, imagination is an autarky without territory, and any reference, any subordination to a so-called "reality" conjures soon as look forward to Orpheus on his beloved makes it disappear forever. What a dream so strong, so clear in memory, does not prove elusive, which, as the discourse attempts to seize it, breaks up, evaporates? In film, literature, imagination is not built, it seems, he emerges at the heart of everyday reality, familiar double traitor or reflection. At the outset we perceive - or as we know, it attracts us or repels us. There is no entry. No keys, no explanations, no translation. The individual sensitivities that make them go there soon - and there are many - and that others remained outside, laugh or get angry. The most coherent works, a dense fantasy - Airtight - those are the most divisive. It refers to Lynch, but we can speak of Philippe Garrel, whose Frontier dawn is the subject of the most mixed reviews.

By its somber beauty and romantic (in black and white) and its climate luxuriously decadent Frontier dawn reminds the world of Edgar Allan Poe. Not "modernized" or "update", of course, imagination is timeless, and accessories that appear occasionally having to submit to a temporality are defined as indices of the porosity of times. Like the American poet (but still in all fine storytellers in the late nineteenth century, Theophile Gaultier, Villiers de l'Isle-Adam, Nerval ...), the passionate people burn and contaminate the love which spectra show trimmed the desire as a shroud, is not measured only in terms of death. Frontier of dawn is a fractured narrative. First note: the meeting between François (Louis Garrel) and Carole (Laura Smet), their passion blazing (though conventionally Proust, cf. The theory of "wipers"). Out: Carole's suicide. Second act: François blooms with Eve (Clementine Poidatz), he courageously tells the "married life". In the interstices of its doubts, fears, Carole returned, his ghost - is it one? - Memory promises invitation to escape ...

The stylization of the story, and the camera fixed on the faces, far from confining people to their tragic role, defines in depth the context of a mystery. It is remarkable how a refined aesthetic can also cause, in reverse, such an approximation in the acts, produce so many uncertainties, questions. If there is an afterlife, even more certainly it is one below: it goes down, we ramp it falters, it falls. By accident or on purpose? The simplest questions open holes, wounds in which the lovers transcend their finitude. Not being a once-Philippe Garrel restores the profusion enigmatic yet, regenerates the matrix of reality. How viewers can he be a truth that eludes the characters themselves? At their disposal, they are only empty words and gestures awkward. Francis (who is a photographer) likes pictures. Carole-Carole-l'actrice or the ghost. The woman, flesh and anguish exceeds its nonchalance. Moreover, it does not consider it as a moral perspective, or even make a light romantic hero, but while the photography of the film tends to clear this idealization, to reveal his inconsistency, the drain to Transparency. Originally, the tragedy is to arouse a metaphysical sense, not trying to grieve. Frontier dawn does not obviously reduces the conflict in love. From the inside, insidiously, the imagination that the film revives, crack appearances, facts and dreams together, and spread anxiety permanently insoluble.


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