The feature film of Emily Atef is the last shot by the actor, accidentally died in January at the age of 37 years.
by Murielle Joudet
More than ever can only be a strange cinema experience, since he is the last appearance of his actor, Gaspard Ulliel, who died in a ski accident in January, at the age of 37. The spectator will spend a whole projection to struggle with this tragic event, trying to put it aside, although he constantly enrolls in over -impression on the images of Emily Atef, until transforming fiction into an involuntary document.
It is all the more disturbing that the film wants to be a meditation on death, filmed through the story of a man, Mathieu (Gaspard Ulliel), and a woman, Hélène (Vicky Krieps) , which suffers from an autoimmune disease incurarisable. No longer supporting the embarrassed pity that she reads in the eyes of her loved ones, the young woman will gradually isolate herself, embrace the loneliness and the company of a Norwegian blogger in the same state as it.
Apart from his painfully prophetic accents, the film, centered on the history of Hélène’s isolation, wants to grasp as closely as possible how disease reconfigures love, social life, the very idea of coming. And how it quickly becomes unbearable to be a dying in the midst of the living. Hélène travels alone in Norway to find this blogger, who lends her little cabin near a fjord. In her retirement, the young woman lives shortly, walks, sleep, meals taken with her new friend, and under the eye of a Norwegian sun that never declines.
exile Norwegian
In this landscape taken in the ice, the disease comes down to a much more bearable floating state. This is what seems to interest Emily Atef: to depress the disease of her only medical, social apprehension, by moving it in the midst of an indifferent nature. A saving deterritorialization for the heroine as for the film: extricating from France, more than ever stands out from French cinema and its automatisms, in which the first part, which was more than one implementation, S ‘ numbed.
This Norwegian exile is a stasis, a space-time devoted to the observation of her actress, Vicky Krieps: the camera captures with close-up this face of little owl, strange persistence of Meryl Streep, young. The Luxembourg actress turns out to be fundamentally unscrewed, still on the run – escaped which had also started with greenhouse me strong, from Mathieu Amalric (2021).
Reduced to visio appearances, Mathieu ends up joining Hélène. It is here that their love is finally embodied, especially during a very beautiful embrace scene, moist, long and necessarily moving as the last fictional residues dissolve there. We will let the spectator discover the last sequence which, by choosing to slowly distance Mathieu from our gaze, seals the fate of the film, in turn portrait of an actress and tomb of images for an actor.
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