In Against you , Lola Doillon, the daughter of director Jacques Doillon , revisits the Stockholm syndrome in a camera light which clash and intertwine Kristin Scott Thomas (Anna) and Pio Marmai (Yann) . She is an obstetrician gynecologist. He lost his wife in childbirth. According to him, she made a mistake. For this reason, he kidnaps her, the receiver and threatens to kill him. Her cold, lonely, proud and arrogant. Him, fearful, prostrate, already plagued by guilt. In what may look like an exercise in style, the director will explore the ambiguous relationship that binds the victim to her kidnapper.
We obviously look back at the top of the genre, The Crying Game of Neil Jordan in 1992 when Forest Whitaker fell madly in love with the companion of her captor and then we proclaimed one of our greatest slaps film which even today it remains an indelible feeling. Buffalo 66 also in 1998, the masterpiece of Vincent Gallo and also the wonderful Atame of Pedro Almodovar, who saw Victoria Abril fall into the sadistic nets of Antonio Banderas in 1990. If one were to compare against yourself with these three monuments of 7 th art, Lola Doillon's film certainly suffer from the comparison because it never reaches the devastating poetic dimension of his two predecessors. Against you, which takes place largely in a room where Anna is sequestered installs a psychological atmosphere rather sneaky and after a subtle division where time is clocked between the inputs and outputs including Yann you quickly understand that no has no intention to kill his victim. If the director lingers on his motives, they are also promptly made naked. The value of staging is to bring any attention to Kristin Scott Thomas and his possible redemption. She has this ability to stay extremely calm and it's pretty amazing not to be described in tearful hysteria, although she tries to rebel but still timidly. We observe its slow metamorphosis, its ability to find her in this drama of humanity. Mostly motionless, waiting for Anna that something is off. When least expected a very strong scene, and absolutely not free because it requires a change from concrete reality, we nailed to the seat thereby breaking the thread of a controlled hatred. It is through violence perpetrator and victim comfortable and break the unity of their static relationship. Then he tried to break it, Yann offer finally to Anna everything he needed, and daily attention, he breaks his shell and feels his feelings. Once freed from his prison, his social selfishness, Anna will be able to love ... The second part of the film is more anecdotal although she gave birth to an end more or less surprising when one considers that the positions of love executioner and victim are reversed.
What particularly attracted the attention is the fineness of the staging that manages to constantly renew the enclosed area of the jail and seize all the crescendo of anxiety relationship. If the beauty of the framing is also to stress, they say minimalism surprising, however, they are as varied as the multiple ways to wear the look on the object of obsession. Outlook of those who denies freedom and protects against self look as the viewer becomes an executioner in turn, hence the strong impression of desire that we capsized. The most successful of Against you is certainly this one, we have associated the camera, we have invited the heart of this walled room where Anna has proven to herself.
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