The vitality of classic formats such as excitement and puzzles does not come from nostalgia for old films, but from their strength to inspiring and embodiment of new ideas and stylistic developments. In this regard, the French director Alain Guiraudie is a paradox, because it is the most complex when working with tight and traditional frameworks. The higher the narration of the stories, the more literally. The more tightening of his dramatic tubes, the more concepts, shapes, beauty and symbols. For this reason his new movie, “Miseicordia” – like his 2014 movie “Strange by lake“It is an exceptional experience. (It was shown at the New York Film Festival last fall and is released on Friday. Her story.
“Miseicordia” is located in late 2023, a classic story of the return of the mind to a turbulent house. Jeremy (Felix Kisel), a thirty -year -old man, arrived at the village where he grew up, after he was long for ten years. He came to the funeral of his teacher, a baker named Jean -Pierre (Serge Richard), who died at the age of sixty. Baker’s widow, Martin (Catherine Froot), puts him in the bedroom’s son’s bedroom, Vincent (Jean Peptest Durand), an old friend of Jeremy who still lives nearly, is now married with a child. Once he returns, Jérémie cannot withstand departure, and Vincent, who was upset with the infiltrator in his mother’s house, tries to bully. He even accuses Jeremy of wanting to sleep with her. Without his knowledge, Jérémie (who mentions his ex -girlfriend) is sexually interested in men; What’s more, he was in love with Jean -Pierre, and still is actually. Vincent then disappears, and Jérémie finds himself at the Police Investigation Center and looks forward to tangled by the local population, including the Dor Priest, Jacques Develoy; Previous farm, former Shlobe called Walter (David Ayala); Vincent wife, Annie (Tatiana Spavakova). Meanwhile, Martin, sadness and amazement, is determined to reach the bottom of things and find that the presence of Jeremy under her roof is useful.
Preparing disappearance, circumstantial evidence, love behind death, and religious ties (such as the amazing scene in recognition) has Hitchcockian tones. These guieudie increases with the severity of the screaming by another Hitchcockian – SEX – which is a much more clear Guiraudie than Hutchkok, given the restrictions of its time. Guiraudie, a gay and raised in an agricultural family, made professional currents of the desire to rise in the countryside of France-in particular, the spread of strange life in places to traditions. There is another almost constant sexual longing in Guiraudie films that embody the age gaps, which is a classic film cup that is usually left without treatment, but Guiraudie brings it constantly, as is the case in his great first movie, The Featurete.This old dream that moves(2001) In “Stranger by The Lake”, which he won a prize in Cannes.
The “Misericordia” engine is the exciting bond that brings Jérémie back to the village. He does not only come to pay his respect, but to breathe Jean Pierre’s air, to attend his body last time, to restore his aura, to luxury in his memory and personal souvenirs-even, thanks to Karam Martin, to wear his clothes. (She wears the pants and pants of the dead man, Jérémie does not hesitate to request his underwear and socks as well). Moreover, Martin Jérémie offers a more permanent and practical bond with her late husband: to take over his bakery, who was currently closed. After he was detonated to the city as a back sacrifice, Jérémie appears to be on his way to become an alternative son. It fits another cinematic model as well: the man from anywhere. It is suggested that he lives in Toulouse, and there is a mention of his ex -girlfriend, but he reveals a little about his life so that the details are expected accounts. It seems as if his return had dismantled the interfering contract, as he canceled his continuous life to make way for the remainder of the past and what can be recycled.
Guiraudie is a movie director – both of her poet and analyst. The village to which Jérémie Saint-Mortial returns to, but the film was often filmed in and around a number of villages close to where Guiraudie grew up in the Aveyron section in southern France. Saint-Martial comes to life with an amazing, physical, and tight immediate, from its narrow streets and rugged buildings to maze spaces and a high height of nearby forests. A large part of the outdoor events occurs, as is the case in those forests themselves, where Jeremy and other villagers wander in search of wild mushrooms, and in heart lands that separate the village and armed houses that work as hidden places and points of calendar for low technology but with high risks-both of the import or excitement. Landscape itself – the Earth, with fallen and wet leaves with rain, and bright peaks that provide attractive horizons – are an important figure in the transformations and turns of the story.
The geographical factor is not just a scene, but it is continuing with the deep -dead Guiraudie vision of the rural community: the naturalized relations between the deeply intertwined families, the rituals dear to daily life, the hierarchical power of traditions and power, and the economic interruptions of local agriculture in a technological age. Jeremy’s return, as if it was to restore his place in society, carries a promise to fill a vacant in the life of the village. (There are shades of “Vertigo” for Hitchcock in how to fit a new access to the area occupied by Jean -Pierrei and the strong, which fits his clothes fully. His exciting energy shakes society from TorPor.
Despite all the complexity and objective visions, “Misericordia” is an exciting film in its dramatic construction and art. Guiraudie is a creation of images as in conspiracies, and is equally consistent with visual ideas and civil ideas. One moment in “Misericordia” practically raised me from my seat, not only when it was prepared, but also in the aesthetic joy that it embodies. No spoilers, but it involves pieces of jérémie in bed at four in the morning to Vincent as he pulled home on his car. The flash of creativity represented by this pieces becomes only clear in the past, when, shortly after, the relevant conspiracy mechanism is like mice. The resulting achievements also reveal a wide range of cinematic invention that provokes it. First, there is a plot point itself; Then there are guidance decisions about the site to create pictures and involve them with a rich mood through training, light, speed, expression and gestures; There are psychological vectors of the characters proposed by development and that the visual auditory details are overlapping. Only then the liberation appears as a logical result and explosive rapprochement in the huge spectrum of the sequence of inspiration and imagination. ♦
