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During the five years that passed between his short film ‘Quand on est amoureux c’est merveilleux‘ and his first long, Fabrice Du Welz he had time to learn tailor your bestiality romantic the new horror French-speaking that brought down borders at the beginning of the last decade. In addition, with this debut, entitled ‘Calvaire‘, the filmmaker belgian started a trilogy about the crazy love that culminates now with his latest work, ‘Adoration’, a heartbreaking story teen on the end of the innocence, the love and the madness. Between the two reigns which remains his masterpiece, ‘Alléluia‘.
Les petits sauvages
Four awards was the film in the last edition of the Sitges festival, including a Méliès d’argent, a special prize of the jury, a mention of its protagonists and the more that well-deserved recognition to the photographic work of Manuel Dacosse, one of the directors of photography more mind-boggling at the time.
‘Adoration’ is a journey into the unknown. A cruel story narrated as a tale of horror. A journey into the heart of darkness, where fantasy and reality coexist in a strange harmony and where there is pain on both sides. The film tells the story of Paul, a boy who will go crazy of love for Glory, a teenager with problems that you meet in the gardens of the mental hospital where he lives with his mother, worker of the center. Paul a young child is sweet and sensitive who loves nature and who will live in their flesh the awakening of love and the end of the innocence in the most abrupt possible through the volatility of Glory.
As the bulk of the work of the filmmaker, belgian, the history stings and it takes the usual risks in the director (the soundtrack of his usual Vincent Cahay), but such is the naturalness of its two protagonists, Thomas Gioria and Fantine Harduin, who carry all the weight of the film in your backpack with ease is staggering. Two interpretations of the highest level that make great a movie that, on the contrary of what usually happens with the film’s director, a belgian, is from most to least. Gioria, seen in the terrifying ‘shared Custody‘, shines enduring the onslaught physical and emotional, of Harduin, whose gaze is the most upsetting thing that has given the film this year. The loving contribution of a Benoît Poelvoorde who was condemned to appear in a film of his neighbor, puts the icing on interpretative (and reflexive) to the history.
Bad lands ardenesas
love monster is the starting point of the film by Fabrice Du Welz. As a sort of prequel of ‘Alléluia’, their characters are sentenced to a future consisting of devour or be devoured. In stand united at any price. In the worship. That is why in this occasion the starting point of the story seems much more appealing than the finish line.
The mansion of the shadows where you never see anyone, a big old house that might be only inhabited by ghosts (and owls in the attic) that swarm (and ululan) about a young man with a whole life ahead of you. A life that could be shorter than he himself can imagine.
But beyond the locations amazing, ‘Adoration’ is a film of characters. Its young protagonists are constantly in the crosshairs of a camera that would never leave from. is camera organic that asphyxiates the characters, and embellished with a rough picture of which you don’t usually see very often in the cinema. Filming in 16mm, and his director of photography, responsible for some of the most beautiful proposals of recent years (‘Let the dead brown’, ”évolution’ or the same ‘Alléluia’), the rise was well above the average.
Likely to point and end to their romance painful, the movie, Du Welz is a beautiful and heart-wrenching epitaph for the madness that began twenty years ago. A movie sensual and less violent than usual, which presents love as an act of faith. If anyone had any doubt.
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The news ‘Adoration’, Fabrice Du Welz close his remarkable trilogy of amour fou with a heartbreaking story teen was originally published in Espinof by Kiko Vega .
November 16, 2019
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