After all the characters we see are. There is the. Marienbad feel initially that the characters need to break out by a. They are. perhaps Beckettian slouches, avoiding the local forest although they. There definitely is that going on but I think. Further into the film you can start to feel similarities to David. Cronenberg's wonderful early movie Stereo (incidentally released in the. In that movie volunteers in a blank deserted modernist. Some characters in the experiment. In this movie you. At one point. Elisabeth's husband arrives and all four of the main characters refer. German Jews, Stein is in them all. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de r Un brouillard enveloppe les personnages qui se d.
Amongst many. merging references is the beautiful line that Stein delivers on the. Max and Alissa sleeping together every night, . There is a beautiful grove outside where white sun- loungers. Max and Stein. have a conversation at the start of the movie, . That sums up the feel of the place. Another point is. Jens Lien's 2. 00. The Bothersome Man, where the lack. After a while the movie becomes very stylised, the shots are static and. It took me a little while. I was becoming a hotel. The effect. is quite overpowering, I felt like reaching out and touching Max's. Alissa (I have never felt that way in a movie). A tactile women who in a key scene has parted. The ending has more than a hint of Maya Deren's Meshes of the Afternoon. It is no coincidence that this film raises the spectre of so. To keep the mood going after the film is over I recommend playing. Charles Ives' . Perhaps it is its more static feel, stressing a little bit too. The current print is not very good either. TV. We are presented with a vast hotel and its garden with desolate chairs. There is also a tennis court. Around the garden is the. The. entire film consists of conversations between four people, five in the. Sometimes they talk right outside the hotel, sometimes. Of the interiors of the deserted hotel we do not see. Not even the characters manage to see the. They all seem to be waiting or in desire of something, as so are. This may produce some discontent. We are always denied any sort of. So what. remains to get our attention is the rather complex dialogue, both off. What of it? It seems to me that the discussions all circle around a game of. As in India Song, there are first two women commenting. After a while, when the women are on screen. This puts the on screen dialogue in a sort of. Well then. anything to pass the time. What the stories are about may not be of. The. two starts a strange cooperation: We are told by one of the off screen. But we do not see. So what do we trust, our eyes or our ears? Neither I guess but. I find interesting. If we play the game we have to see it. It gets. a little cruel perhaps, especially towards the older, nervous Elizabeth. I like the way the rhythm is slowly. These. may be worried people but the way they worry is rather pleasant to. I may say so. There are also for our entertainment some, if rather basic, tricks with. When points of view shift, the stage at least is. But mostly it is the talking that. Multiple talking, perhaps, but handled with great taste. From. the little I have read about the films of Duras, it is the priority of. The way it often is out of synch with. Here there is not any sounds present which we cannot. I. find I listen to the voices the way I often, lazy, listen to music, as. I hear. The. contrast for example between the whispering, lush voice of Alissa. Stein; . When Alissa says that they have been very. He claims he does not read novels anymore, because they. He is clearly the odd man out. And when. Alissa simply says . But when Stein. repeats ? The end is dark and surprising. Not to be told, so see (hear) for.
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