![]() All these inventions, twists, obscurities all about emotion. The characters are deeply human, and that's what counts. Things may not make sense at any point, but it's not about symbolism, it's about expressionism. To say the world of Mood Indigo is surreal and absurd is an understatement and no words can quite grasp the chaos on screen. No dream, no drugs, and nothing is how you'd expect. However, I've never seen him quite so unrestrained like this. Be Kind Rewind was an unfortunate misfire but I already warmly welcome his style. Eternal Sunshine of the Spotless Mind and The Science of Sleep are two of my all-time favourite films. It's been a long time since I've been acquainted with Michel Gondry. And I mean especially for the English speaking countries, where Boris Vian is really not well known and most of the time poorly translated: by transcribing his style to a visual dimension, Gondry made it universal. But at least, people will feel what Boris Vian is all about. Others, like me, will love it passionately, for its effusiveness, for its communicative joy, for its unrelenting sadness. The DIY way ladies and gentlemen, that's what it is all about. Sometimes, those things just make sense Gondry is the only one who could have transformed Boris Vian into something visual, and that is exactly what he did, and with no CGI, only old fashioned tricks. ![]() That is to say, until I've heard that Gondry was directing L'écume des Jours. ![]() In that case it was completely different I am a huge, massive Boris Vian fan, and I never thought his style (for example the way he took metaphors literally) could be set upon a screen. Usually, I do not care about how a book is adapted, as long as the movie is good on its own.
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