The director Bier's Dogme-style seems increasingly detached from the earliest times, though retaining use of the camera by hand, which denotes a mastery not overly affected and an end in itself, but the film itself exudes an attempt to reflect on the violence in our daily lives, which is likely as the macro-themes of life not to be treated with due attention paid and it is difficult to say what might be the right ones, well chosen items that make a film not rhetorical or misleading.
There are hints of rawness and truth that we are given with clarity and sincerity of the children from each of the characters, which the latter seem to arise as a counter idealistic and focused than all'istintività adolescence, but then director seems to take to prove that nothing is as simple as it seems, is not always able to be consistent all the way and this is what happens in a territory in which the imagery of war and poverty is fertile ground and too obvious to state the their arguments or thesis.
It thus remains doubtful in the face of a movie like this, whose basic message is ambiguous in its moral, if there is a moral and seems to see in a final disturbing in its conciliatory tone easily.
The film could have worked better if he had known and otherwise maintain its focus on the underlying drama boys, realistic and hard real focal point in its depiction of a youth not as accommodating as their blind teachers, but perhaps the director wanted give a sign of hope to a reality that often is not as rosy and we are surprised that sometimes, again, may be provided, but the cinema is another thing, there sometimes punch in the stomach, if not an end in itself and pleased, when properly positioned, it is definitely a result visually and narratively more effective than many unspoken thesis or confusing as in this case, in which the ambiguity this time there is violence, but in asking the question whether it is possible to do without it.
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