Romanian cinema is, like the German cinema is booming. What is sometimes dangerous. Because we see so inevitably land on our screens all that bears the label of the new Romanian cinema. And whether good or not, the press shout loudly with pleasure before the film cinephile most innocuous. Morgen first feature film from director Marian Crisan is one of those films that are riding the wave that began with the Romanian Palme d'Or director Cristian Mungiu in 2007 4 Months, 3 Weeks and 2 Days . Carrying on a subject of immigration in a Europe without borders, Morgen discusses the issue of how ludicrous by association with a slow formal invites more somnolence than enthusiasm.
Nelu ( Andras Hatház ) is a guy who spends his time kowtowing to accept what he said without complaint with a fatalism close to outright passivity. He works as a security guard at a supermarket in Salonta, a small town on the border of Romania and Hungary, and uses his free time to fish in horrible rivers like sewers when he secretly dreams of becoming deaf not to hear the rantings of his shrewish wife and dissatisfied. It is a type one imagines shot without any control, without power of decision. Yet when he stumbles across a clandestine Turkish (Yalcin Yilmaz ) that seeks to cross the border to join his family in Germany, he will show some poise and courage even a surprisingly humanistic. It will indeed offer the man with whom he can not connect to come live with him finally in his basement at first. It will feed him, give him clothes and even try to find him a job ... all in perfect inequality. Because in addition to having a pathetic life, the poor bugger has continued since the beginning of the film by the immigration police (superb prologue full day in a cons-dawn). Whatever he hides in his sidecar, either a man or a carp, everything is stacked against him.
Initially Marian Crisan sets the scene with subtlety. It describes the daily depressing Nelu lost in the midst of a ruined farmhouse. Nelu which can be considered a follower is often framed from behind, the camera glued to his neck clumsy. By day, plans to incorporate into the decor, the image is static, always silent movement. The staging is minimalist and sleek'm fashionable and is often the preserve of a copyright film says, we must honestly admit that it may be completely off-putting when it is long term or whether makes it a figure of speech. The bias Marian Crisan which is to use two specific frameworks for the duration of his film is also its pitfall. While it is obviously an intention, it does eventually we find the time to observe long Nelu ruminating his project sitting on a chair.
For a good follower of procrastination, it still recovering after the trip to Hungary. Is that now he has found a friend with whom he beats the card, cutting wood and repair the roof. And more as he does not understand a word of what he says (and neither do we because it is not subtitled), it would have a hard time arguing with him or take a dislike to this illegal immigrant is portrayed as a good guy a bit cheesy. This is of course these scenes dialogues that bring their share of slapstick and alleviate the theme of the film which then overflows the side of the story. It must indeed rise to the level of the story to believe in this story where a man receives another home when he was already struggling to live with another living species than the dog.
The tale avoids the moral lesson in the finale of a pretty pirouette stressing the ability of men to annoy their neighbors supporting the vitality of their own transient existence.
0 comments:
Post a Comment