[critical] TRAVEL IN CHINA

Photographer become a filmmaker with this first implementation, the very discreet Zoltan Mayer takes a great Yolande Moreau (Liliane) in China on the footsteps of his son who died accidentally. A man who had married a new choice of life, a new culture to which the mother broken open during the process of accompanying funeral. This simple story that wants to be touching is particularly refined in its narrative, constructed in a succession of meetings that can wrest a smile here or trying to pull a tear there. No twists and turns in this spiritual pilgrimage, contemplative, sometimes very beautiful but also slow and tight.

Strong of its know-how of photography, the director of this CHINA TRIP offers us many fixed plans, showing a sense of composition, obvious, playing with the focal lengths, which floutent often the characters to better enhance a rock or a tree branch with flowers. He does not hesitate to hide in the center of a glass reflecting vegetation and scenery. Aesthetically troubling, this bias is justified since the arrival of Liliane in the new earth home of his son, struck by the language barrier and faced with a place where time seems to have stopped. The formal qualities do not stop there, reflected in this serious moment in a bamboo forest sublime to the discovery of the place where its Christopher lost his life.

The different people that Liliane is brought to meet, we offer moments of exchanges friendly but also touching like the wedding scene. The girlfriend and the mother of the son, then reunited in the same framework, is leaving soon, the one upset by the speech in honor of the young man disappeared, and the other, sitting there, completely disconnected. The performance of Yolande Moreau is in this sense very fair as it seems to us to be blatantly true and natural. His fans will be delighted in front of this story is a very intimate, too intimate the same, for which the pretext of the initiatory quest mask, in reality, the entirety of a farewell to the living body, of the discovery in the morgue until the cremation. It is so embarrassed to be there and bothered to be bored, since, unfortunately, neither the emotion nor empathy fail to seize us.

“To book to the fans of a great Yolande Moreau, for whom the vision of this drama, the contemplative will be any other.”

It is perhaps here where the actual technical qualities of the director are limited, the less comfortable we carry, revealing itself to be demonstrative when it is moving away from this fixation that eventually we tired to follow these hands that touch and convey the same pain. To get back to the writing, one will not be surprised to learn the revelation of the young woman who shared the life of Christophe : four months pregnant, she will eventually miscarry, leaving the beings alone and deprived of a progeny who would be able to reconcile a mother and a son that had never been found. The themes and issues addressed here were not devoid of force. However, the last plan brings a nice dose of optimism, showing us that the terrible experience of death does not prevent us from living.

The other outputs of the 25 march 2015



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