[critical] SPRING

Hasnearly the grief of his mother, Evan decided on a whim, to flee his hometown natal, and his life of shit. By chance of fate, he will end up in Italy, and finally meet Louise…

SPRING can be defined by three things: the exoticism of an Italian city beautiful, a romantic comedy indée, and a monster movie… The result is really successful, thanks to a perfect dose of these three components.

Poligano a Mare, the city or going on the film is a protagonist of the film in its own right, with a real soul, a history… Beautiful but mysterious. The charm is double for me. Because the movie glorifies, or even personalize through Louise, and then because I myself spent a vacation. The identification, was for me, total. Even if this obscures probably my judgement on the film, the charm of the town has fortunately not waited that I visit in order to exist, and you will probably be as much conquered as me.

Poligano a Mare, this is the kind of place whose memory never leaves you, who knows how to give you this feeling of not belong to you. Evan discovers the city little by little, first alone, and then with Louise. Together, we will reveal its secrets.

The other advantage of the monster movie (because it is definitely a), it is to be a rom-com, a real. But not just any rom-com… the One, very special, or the characters actually speak it instead of following the formula of the genre, or the camera is trying to capture this kind of moment that lasts (cinematically) an eternity, the one or the charm of each party is as much about us, that on the other. This kind of romance unique, magic, which reminded me of my greatest pleasures of cinema – these long conversations between Julie Delpy and Ethan Hawke in the trilogy Before, or these moments of weightlessness between Belmondo and Seberg in breathless. Yes, at this level.

But… In all objectivity, SPRING would have won to be more short of a quarter of an hour, and rotates vacuum the time one or two conversations too rational and explanatory, although necessary for empathy.

 

The dialogue, therefore takes a lot of room in SPRING. And through him, the personality ofEvan and Louise; It feels as much as the writing-precise of the authors, that the spontaneity of the most absolute – the actors by their natural and charismatic, we immediately believe of the power of this love. Huge blow of heart for Nadia Hilker… and Then to a lesser extent, Lou Taylor Pucci very good, and Francesco Carnelutti, is beautiful and touching in this little role of old Italian minimalist.

After these descriptions, one can legitimately ask or cache the fantastic… And right in the middle. In fact, although this is the spring narrative the more important, it does not really make his entry, the time to INSTALL the torque by the detail.

Empathy – by the actors – the non-linearity/charm of their relationship is suddenly shaken by the true nature of the character of Louise… Making her a heroine romantic par excellence, that the image of the greatest monsters of cinema (dracula, Frankenstein, is cursed by his condition. This fantastic, peeping at the same time towards the satanic, science-fiction, or mythological, does heurueusement never not on the romance, on the contrary. His expression is a certain minimalism, operating as surprising, and fun when the surprise is no more.

“Beyond the metaphor, or the technique, one of the clear SPRING is the feeling of having witnessed a love story”single

Finally, as always in horror successful, he comes to realize his fears… Here, the fear of responsibilities (common life, parenting), the fear of loneliness, or grief. But beyond the metaphor, of the technical and special effects, what it holds of SPRING it is above all the emotion, and the feeling of having witnessed a love story unique.