DISOBEDIENCE, a remarkable ode to love breathless – Critical

In Disobedience, Sebastián Lelio triumph of the passage in English with brilliance, and the sublime, more than ever, these women that he loves, as always.

Forbidden love, topic, topics, is reborn. If same-sex relationships are aware of a lighting welcome in recent times, there is in the director that spark which enables him to distinguish it from other films that have been recently brought to bare by a wider audience. It seems more honest, more sensitive than Call me by your name of Luca Guadagnino or Carol by Todd Haynes before him, all two works honorable but next to that it loses in authenticity. The couple is not a pretext to the art, but is art itself, unintentionally and by nature. The novel by Naomi Alderman that he renders with fidelity, it does not preserve both the idea of rebellion than one of attraction, it installs a languor that makes every kiss a climax romantic. The protagonists are mainly people who love each other before being “the rebel” or ” stuck “, they are both allegories of desire and blend into one another in a platonic. The evocative power is not in the poses, it creates the attraction as a canvas sublime but terribly fragile. It is suitable to rent as of now the benefits of the two Rachel, Weisz and McAdams, who graze so much the real as the barrier of the fiction is sometimes blurred as their chemistry is mind blowing.While the oscar-winning A woman fantastic, starting with flashes of color, from the first seconds of this new feature reflects a change in film drastic at the level of the chroma. Not the impulses of colored : within an environment so dull and rigorous, the slightest touch of light takes the form of a blazing sun. Here it is thus a rather grey standing that illumines the flesh, this flesh that transcends the gloom ; the treatment of their bodies is phenomenal. And yet the director filming the very skin the skin of her heroines, always covered under layers of clothing, under wigs… More the lovers are punished, even physically by what they wear, the more they come alive. The gaze of the man who is still behind the project is not intrusive in any way, the narrative is bathed in a halo of caring intensely respectful but above all in love, an unfailing admiration for the womanhood. It is always closer to the actresses plants that the camera lies, obsessed by their body, their hair, their face. And even in complete privacy, it vibrates the body rather than exposing them, and the erotica is totally absent when one sees the chest of Estie in the presence of her husband unlike the sex scene with Ronit, where nothing is shown otherwise by synecdoques progressive, but exults.The magnitude of feelings is greatly increased by the fact that they are silent. The death followed by the artist introduce and conclude the story and intertwine throughout the plot, imprisoning emotions in a religious restraint. Some songs are heart-wrenching, and Dovid played by Alessandro Nivola , is the perfect representation of all the doubts, this conflict of religious and moral with the reality of the situation -which ends on a plan that was particularly beautiful. Without too much to show, the weight of the community, of the marriage of schools, and the views are the setting that overwrites the error-dogmatic in principle. But nothing is simple, the temptress is not the one that is seen as the ” sinner “, and nostalgia as the passion are perhaps not the good solution to everyone’s happiness.

The problem here is more extensive, it is one of free choice, out of complacency, to the experiences which we viscerally need. No could find some heavy symbols, like the song that the radio plays, in truth, the urge is so overflowing that everything appears to these in love as a sign. It is without counting on the extreme simplicity of all the scenes, which allows as well as some differences more tender. Sobriety is indeed used with skill at the service of a kind of ultra-sensual, breathing deeply sensual like these two women, whose reunion is a long synesthesia. The happiness to hear the voice of the other again, you can see it, smell it, taste of his mouth, the touch, everything is there. The looks have a weight absolutely extraordinary, even blurred in the background every glance is a caress.

Disobeying allows the characters to exist finally, and this expression carnal, so raw and so pure is a rich time, one arm outstretched to freedom.

Manon

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