A car, on the vibrant notes of the violin, moves away from large estates that slowly disappears behind the curve, replaced by green and gray landscape of the Belgian countryside.
The last scene of the film comes full circle, beginning with the initial dedication "to nos limites" (within our limitations), to tell as objects, possessions often become catalysts
of battles that arise within the first in the hearts.
Pascale is the divorced mother of Thierry and François (Jérémie Renier and Yannik) from, twenty-five twins, not yet emerged from adolescence.
After years of family responsibilities as perceived sacrifice, also because of the falling in love with Jan, Pascale starts thinking of selling the house that was left by ex-husband Luc and where his children grew up to open a farm.
one discomfort for what may seem a selfish choice of the mother, especially because it underscored the continuous offensive comments by Thierry who plays his father in the house distorted attitudes, slowly the viewer appreciates the efforts of Pascal to build, through its quest for autonomy by the altered family dynamics, including the independence of their children.
The conflict between Thierry and Pascale, supported by more "maternal" Francois, when the mother comes out from the scene, what will become of brother against brother. For
apparently minor things: a bike taken without permission, how to eat, a joke.
Isabelle Huppert brings to the stage on a mother whose face reflected a exhaustion, mixed with a sort of emotional relaxation. There is no dialogue between mother and children, some of Pascale rather ambiguous attitudes to expose the increasingly malicious comments by Thierry about his sex life. But his presence is still with the fragile glue that holds the family together.
Luc's father, played by Patrick Descamps, a physically imposing figure, it is morally absent from the lives of children, except for economic support, the post to which he clings to his claims.
The director Joachim Lafosse , Sombrio and is not bulky, to emphasize the dynamics of narrative families which require more effort to interpret a profound are those chains that we all know, a mixture of suffering and personal interests, from which we feel connected and who attempt to free, with violent and clumsy attempts, which have the effect only to narrow them stronger and stronger.
0 comments:
Post a Comment