Ria (Juno Temple) is leaking a man, while Joseph (Timothy Spall) tries to escape with tons of alcohol. Both have things to apologize for and will spend a long time together so that “everything divides them” (“away from each other” would explain, therefore, the title). Difficult to say more, as the interest of the film lies only in the exploration of the personality of these two individuals. AWAY is made up of flashes back and glimpses of the future. The non-linear editing gives the viewer the challenge of rebuilding itself, the puzzle of their relationship and the events that have led to meet.

First problem of this artificial device : even with all of the parts between the hands, you realize that person never explains why one desires to spend time with the other. If the relationship is progressing well in the long term, the accident initial that puts one in contact of the other is not enough to understand what Ria seeks in Joseph. So, the complexity of the assembly returns to an empty, one feels cheated and abused. The twists and turns, even upside down, are both commonplaces and events uninteresting. AWAY then appears as a melodrama to the frame ultra-classic, full of clichés out a montage convoluted attempts to elevate to the dimension of the puzzle of the brain.

The only interest of this assembly is to mate scenes fades a few frames to the original composition. Funfair in counter-point to this intimate drama, these joliesses would like to make us believe in a fairy tale of vitriol.

AWAY has several layers of interpretation, but they are isolated from each other. The aspect of a fairytale or the criminal dimension do not interact between them. In AWAY, 1+1+1 = 0. Yet the emotion is sometimes on the surface, thanks to the work of the actors and their direction.

What was the intention of the writer Roger Hadfield, for all the sleight-of-hand by director David Blair have managed to render a common location under a ton of makeup. AWAY is a bit like the Divine of this side of the Channel. It is said that at this time the bombastic pessimistic at the coast. The recipe for making the illusion began to be exhausted : put a ton of glitter on a few clichés about popular classes, defuse the critical spirit by one or two tricks of staging, wait 1 hour and 50 minutes. To taste, if you’re really hungry for cinema, if not pay attention to indigestion.

Thomas Coispel

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