The melodrama is not essential for modern French cinema, because the melodrama is rooted in the paradox, while one can barely slide a playing card between most of the intentions and results of the French directors. However, in 1975, there were thirty people before Cahiers du Cinéma The critic, Andre Tichini, pressed a wide range of historical reversal in exaggerating the romantic passion in a movie entitled “Memoria” (here, “French boycott”) and found a distinctive melodramatic voice. In his long career-he directed twenty-five features and is still continuing-the inspiration of Téchiné was interrupted but strong. A few of the main film makers working outside the studio regime restrictions are offered such a scope between their best work and their lower efforts. Sometimes, Téchiné’s relationship with its craftsmanship and its direction is proven to turn into a clear match. However, when the tension between his feelings and his expression is clear – and when he reveals himself in style as is the case in the material – his films are glowing enthusiastically with passion.
Optimizing, then, Téchiné’s cooperation was the most permanent with one of the great actors in containment and elegance, Catterine Deneuve, which barely had to do anything to do a huge amount and do this elegantly. They made seven films together, including his main work, “My Favorite Season”, from 1993, which passes on April 29 in a series in the L’Alance devoted to their joint projects. “My favorite season” was released here in 1996, at a time when many of the best French films failed to get our distribution; Despite some good reviews and DVD version, it has decreased to the unpopular forgetfulness. The examination also provides an opportunity to welcome me to re -watch it – as I did several times before it is released – because I have a small role in its distribution. To make a long short story, when Téchiné and DENEUVE came to New York, in January of that year, the “My Tails Mysepty” distributor called me to join them for lunch and discuss the suggestion of Téchiné to reduce the movie for its American release. (I loved the movie as it was and said that, I left it in the end.)
Recently, I was thinking about distinguishing between the story and the plot-specifically, between the comprehensive relationships of the characters and the events that appear on the screen through which these relationships are evoked. Often, the critical elements of the story are suggested at a glance, gesture, line of dialogue – endless but great import events. In “My Favorite Season”, who participated in writing Téchiné with Pascal Bonitzer (a also Cahiers Graduates and a note director), the gap between the story and the conspiracy is great and exquisitely paradoxically: the story, which was easily summarized, provides a strong set of conflicts and decisions that involve family history, but it is the plot – on the screen, the hard -to -display, its export, and the most likely excel, the formulation of hardness, the most likely, the most amazing validity, the most amazing validity, and the most amazing validity, and the most amazing authority, And amazing colors. This is all expressive because it is rarely broken.
The procedure was set in southwestern France. DENEUVE plays Emily’s role, a lawyer in partnership with her husband Bruno (Jean -Pierre Boufir). She invites her younger brother, Antoine (Daniel Ottel), a neurologist in Toulouse, near, from which she was stopped for three years, to spend Christmas at the family home in the comfortable village in which they live. The assembly includes their mother, Perth (Martel Villalonga), who was miserable with her daughter (she always preferred publicly Antoine), and two children’s age (in addition to their friend). But Antoine is not in line with his son -in -law, Bruno, and demands their struggle to leave with Antoine and return to her home. It also raises trouble between spouses. Antoine and émilie, which is dismantled again, are forced to reunite them when Perth has fainting bouts and can no longer live alone. While Antoine and Emily attend the well -being of their mother, their complex and intensive relationship reshapes the extended family.
Throughout my “favorite season”, the past is present, the intimate life of the family full of history. Perth did not go to school and he is my mother. Her late husband, the manufacturer and agricultural equipment dealers, insisted on teaching his children so that they can obtain opportunities that he and his wife lack. Perth, Bath, wanted them to be “modern”, and so they are, but she admits a price of their modernity: she wishes to have a third child, less modern, he took and cared for her. History was built in Téchiné visible books, and its feeling of elegance. In a decisive sequence, which shows the siblings who bring their mother to a home to care for the elderly, the car is turning into an emotional trip. Antoine and Emily sing a song they sang on childhood trips. Perth, who sits in the back seat, is seen close to a side window where it is reflected on the trees that pass through her face: passing moments that combine with deep memories. The harsh singing continues while the car, which was seen in a long snapshot, continues a wide evil scene that appears almost full of their song – until the nostalgia imagination is broken into the nostalgia to the exciting image of metal yellows, and it reveals a hard and cold shot in the nursing house, which then reveals exhausted in a lavish lengthening of the shots. Without a word, pictures and moods are distinguished by the end of the past: a final dramatic breakdown point for family life.
The moving camera is a sign of the passage of time, as in classic films by Max Ofelsand Kenji MizogushiAnd Alain Resinais. In “My Favorite Season”, the Téchiné camera is greatly active but its weight. Its movements mainly are not light or decorative, but they feel burdens, as if it were at the same time. There is no light paid light from the portable CameraWork. Even in the harsh movement, the film’s pictures feel the connection on the ground, deeply rooted in the terrain and the station, in a material and intimate history. After Antoine and Emily deposited their mother at a home to care for the elderly, they have lunch together in an outdoor snack bar. Chat turns into an argument, and explodes émilie. In taking one, Antoine is then chased – which reduced the remains of their meal in a garbage box and catch his sister on the shoulder of the unwanted road. From there, Téchiné follows the pair in a long tracking shot that keeps them harmonious together as their super memories rise in the vulgar oceans. (It is a moment of permeability of the molomoder that stops ridicule.) And when the camera remains, in a tense close or narrow collections of characters, she feels more stable in place.
The same procedure, with its influential and influential behavioral peculiarities, is filled with loose ends, similar to infection and asymmetric but shiny faces. These are rich imaginative characters instead of gatherings of features related to conspiracy as if in the Bible in the presentation. The fantasy range of the film appears early, when, late at night, Emily Perth, an unhappy guest, sits abroad on a chair in the garden, talking to herself-a newspaper and self on both sides of conversations with people who are not there. Émilie suggests lighting light, and her mother responds naively: “You are afraid to think about something.” (Villalonga’s performance quietly very rock gives an unemployed incarnate to aging.) A lot of dialogue is cultivated by the same: Bruno tells Emily that Perth and Antoine badly; Emily Antoine tells that she hopes that he will not be present; Antoine receives their mother’s hatred and waiting for an opportunity to vent her hatred. Émilie and Bruno have a quiet but horrific confrontation while their daughter (that Shiara Masteri, the real daughter of Deneuve, in the first role in the cinema) is outside the room, and she hears everything. Nothing but fast and violent bangs can penetrate the surfaces of the film from excessive restrictions.
Antoine properties may cut deeper, and even shallow. He is a wonderful scientist, who refuses to wear an hour, and in a moment of crisis, he runs on the streets of Toulouse, he is heading to a stranger and asking time. He lives alone, and it seems that his determination is deep, and continues with awareness of his difficulties. Upon arriving at a Christmas eve, Antoine closes himself in the bathroom and reads loudly a reference list of courtesy and compliments he needs to remain aware of the presentation of interest and social media points. This is not the only social preparation that it must harden itself.
As for émilie, the interpretation of the role of the role reminds me of the critical relationship between formalism and form. France is a culture of morals, rhetoric, and graceful behavior, as if life itself was from the great audience to the home closely, it was mainly, which requires continuous restraint. France is a general confrontation, conscious in itself, and as a result of an internal sense of identical copies. The feeling in the close -up of the mirror is a movie by its nature, not theatrical, and DeneVE is the greatest example of this French style. The compact form of its influence becomes aspect of the shape of the film, apparently focuses and tightens the performance of the members of the other actors’ team and even the cinematic framework around it. Through her looks, her gestures, her accurate transformations of the mood, a halo, it seems to be involved in the direction of the films in which it appears, and Tishini, sensitive to the internal disorders of its suspicious silence, reaching its direction by seizing this film with it. Merging his books in its own way, directs the film to its multiple systems of rhythm, synchronous bone full of fever. As a result, the film progresses with an innate feeling of gravity, and the threat of cracking that waves on the horizon under the arrangement and magic of modern life. ♦
