Yesterday I had the pleasure to see "Earwig" and "Kerr", two films that could intrigue and fascinate whoever sees them. However, some may get desperate because they do not "explain" in detail what is happening, while others can follow the flow of beautifully captivating images and sounds that, as in this case, narrate the story.
«Earwig» the second feature film by French filmmaker Lucile Hadzihalilovic, the daughter of Bosnian parents who was raised in Moscow and studied film at IDHEC (later FEMIS) in Paris. Married to Gaspar Noé, Lucile was previously an editor and screenwriter (she wrote "Enter the Void" with Noé, among others). This is first film I see by her, and I found quite an original creator, able to paint a disturbing universe, bordering on the limits of horror.
The movie follows the fate of five characters, at the center of which are Scellinc (Hilton), a gloomy 50-year-old man who has little Mia (Hemelaers) under his care, having to change her ice teeth several times a day. Scellinc keeps Mia in a mansion with almost no sunlight and everything seems to be in order, until the day he receives the order to prepare Mia to live out of that oppressive space. On the other hand, we see the story of the waitress Céleste (Garaï), whose right cheek is accidentally disfigured by Scellinc, when he attacks a foreigner (Begin) who harasses him in the local pub; and finally, Laurence (Lawther), who chooses to take care of the waitress in exchange for company.
However, the stories take place chronologically and in parallel, while simultaneously memories of Scellinc's childhood take form, creating a kind of kaleidoscope, loaded with luminous images that emerge from crystals. «Earwig» is a beautiful journey towards the rendezvous with destiny for Scellinc and Mia, with horrific "forking paths" where terror waits in silence.
Winner of the Special Jury Prize in San Sebastián, it is a film that deserves recognition, especially among full-time cinéphiles who have an ecumenical vision of cinema, which is not limited only to what Hollywood offers.
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I also wrote about «Kerr», please check it.
«Earwig» the second feature film by French filmmaker Lucile Hadzihalilovic, the daughter of Bosnian parents who was raised in Moscow and studied film at IDHEC (later FEMIS) in Paris. Married to Gaspar Noé, Lucile was previously an editor and screenwriter (she wrote "Enter the Void" with Noé, among others). This is first film I see by her, and I found quite an original creator, able to paint a disturbing universe, bordering on the limits of horror.
The movie follows the fate of five characters, at the center of which are Scellinc (Hilton), a gloomy 50-year-old man who has little Mia (Hemelaers) under his care, having to change her ice teeth several times a day. Scellinc keeps Mia in a mansion with almost no sunlight and everything seems to be in order, until the day he receives the order to prepare Mia to live out of that oppressive space. On the other hand, we see the story of the waitress Céleste (Garaï), whose right cheek is accidentally disfigured by Scellinc, when he attacks a foreigner (Begin) who harasses him in the local pub; and finally, Laurence (Lawther), who chooses to take care of the waitress in exchange for company.
However, the stories take place chronologically and in parallel, while simultaneously memories of Scellinc's childhood take form, creating a kind of kaleidoscope, loaded with luminous images that emerge from crystals. «Earwig» is a beautiful journey towards the rendezvous with destiny for Scellinc and Mia, with horrific "forking paths" where terror waits in silence.
Winner of the Special Jury Prize in San Sebastián, it is a film that deserves recognition, especially among full-time cinéphiles who have an ecumenical vision of cinema, which is not limited only to what Hollywood offers.
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I also wrote about «Kerr», please check it.