The selection “Series B” : THE OPEN

If no release date has yet been announced for The Open, this movie is post-apocalyptic of the most singular, where tennis becomes an art of survival, continues to be talked about in various festivals around the world.

Making a film can be a risky business, unreasonable, crazy. That follows a filmmaker as Marc Lahore must take his hiking boots and his backpack, and prepare for a shooting experiencing. Since the absence of a budget, the brave and the bold should all capitalize on their energy and their faith in the accomplishment of their project. When one summarizes THE OPEN the bet technique, which he represents, one wonders just how much energy, faith, and frankly, unconsciously, allowed this bet to be won and lead to a result that is also intense for the viewer. A shooting in the Hebrides Islands, north of Scotland (personally, I didn’t even know that there was a north to Scotland), six technicians, three actors on the screen, not to mention the fog and the rain which are also present at the appointment.

A clear parallel can be established between the subject of the film and the company’s artistic director and his team. The three characters to overcome the rigorous conditions of a post-apocalyptic setting, in order to focus on a single goal : the final of the international of tennis of Roland-Garros. Lahore and his accomplices roam the islands Scottish moods severe, still looking right in front of them, to the culmination of a cinematographic work. And not just any work, since they get here the consistent result of a bias in writing refusing to partition the intentions of the film says “copyright” and the codes of the so-called “gender”. This resolutely modern and free of the economic circuits, conventional leads on a film post-apocalyptic intimate.

Therefore, the journey undertaken by the trio sports is emerging as an intense workout experience, which does not need to outbid in the action and the entanglement of dramatic tensions, to successfully appear spectacular. The simple fragility of these bodies lost in the middle of the magnificence of the scenery of the scottish is enough to the spectacular dimension, because the design in hostile land uses with relevance to the trajectory of these warriors, imaginary. This green land and grey holding head in a threatening sky, it becomes the echo chamber of torments interiors that move our travellers, and lead them to their goal : to feel immense in the middle of the vastness. I imagine that in reading this critique, some readers are wondering what is the relationship between a trip post-apo in the Hebrides and the tournament of Roland-Garros. To the limit Wimbledon that is on grass, but here in Roland Garros is clay, there is something wrong, no ? It is precisely in this gap lies all the poetry of THE OPEN; since the tournament, it is before any question in the minds of the protagonists, speaking of tennis, move tennis, sleeping and eating tennis all day long, so that evidently the world around them is suffering or has suffered from other issues.

“Intimate first of all, The Open, recovering worn by a romantic breath. “Click To Tweet

One could believe at first that this scenario serves as a staging absurd, as in the theatre of Samuel Beckett or Eugène Ionesco, where the gestures are only the repetitions pathetic ideas desperate and devoid of lucidity. But the talent of Marc Lahore lies on the contrary in the potential disposal of its images, in its ability to make us believe a lot with a little. It takes empathy for his warriors-dreamers whose grace is to have been able to invent their war zone to them in order to not let it destroy by the war zone that they would suffer the harsh reality. And around them gradually appears in the dream, superimposed on the actual set, that instead of nailing the characters in the choreography is ridiculous, the door in the energy of their identity, their dignity as a human body is released by the movement. For evidence of this shift is poetic, arises suddenly when the music replaces the tennis, where the hymn Amazing grace in turn becomes an act of devotion, a physical performance by a body to the edge of the break, and yet through more than ever by the violent emotions and conflicting life.

At first glance, one might believe that THE OPEN is a minimalist work, seeking the economy, or even the writing in his dialogue as in his technical device. In reality, the film finds its power in its dynamic weakening gradually the little jingle absurd that one can anticipate, to let them settle a romantic breath that we picked in the end. Create tension by an opposition between two forces that can govern the life of a human, on the one hand the cruelty of a reality, the other the ability of this human to marry her in a passionate manner the momentum of his emotions, he does it more romantic in the end ?

Arkham

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