Even without its underlying message, its one of the best action movies of the year.
Date said he likes clean women, but wouldnt explain what he meant. Hiroshima mon amour; Alain Resnais, Bonnie Parker — Hayley Warnham.
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Hal by Ines Estrada. Hiroshima mon Amour by. While Hiroshima Mon Amour explains in part how people come together. He fights his parents when they reject her, accepts being a father and marries her and eventually becomes her babysitter, her driver, her everything.
While he appears to be in control of their relationship, in fact Toma just revolves around a woman he cannot understand, pushing himself to the limit as he tries to save her. Netzer's follow-up to the excellent Child's Pose shares some elements with its precursor, but takes a different angle to the emotional roots and psychological ties of family life.
A complex and layered film, it is framed in the present, but plays with the chronology of events to suit its thematic anchors: While pertinent and polished in its construction, I found it hard to stay connected emotionally, especially as the characters evolve elliptically and the change in their dynamic feels abrupt. Our couple is Toma and Ana, two lovers who meet during university and, more than anything, fall into a relationship.
They are both cultured individuals and complete each other well, as Ana suffers from anxiety attacks and Toma is seemingly always there to support her. Those scenes have a sense of caricature about them, with 'traditional' values of partner screening proving funny and harrowing at the same time. But they prove to be just pieces of an ambitious human puzzle, which ends up taking us down an exploratory route devoid of superfluous emotion. As an aside, some people in the cinema were taken aback by the explicitness of a sex scene, which I would rather deem justified, due to the Freudian aspects of Netzer's approach - and a meaningful character- building moment.
The attention to detail in fleshing out Ana and Toma provides the characters with a lot of depth. They are, as one would say, profoundly human in their imperfections and the manner in which this comes to the surface as their relationship evolves feels very true. The movie puts psychoanalysis at its core, turning it into an indirect plot device, which sometimes looks like a black box.
More important though is how Ana and Toma react to change, in particular to Ana's gradual self- empowerment thanks to a mixture of religion and psychoanalysis , which fundamentally alters Toma's role as 'the saviour'. It all becomes a matter of identity, of shaping and losing it, as defined by relationship roles, rather than intrinsic traits. Quite interestingly, the first scene finds the protagonists discussing Nietzsche's Beyond Good and Evil - the subjugation of morality to Christian dogma and the idea that good and evil are not quite opposites.
By the end of the film, the overwhelming sense of some moral misappropriation between Ana and Toma can and, perhaps, should be seen through this lens, with no clear distinctions at hand for who is in the right and who might have been wronged.
While all this is intense and fascinating stuff, the chronological structure creates a bridge I couldn't cross. On the one hand, the technical execution of the to and fro was handled well - it's impressive how different degrees of a receding hairline can create a sense of time. Although some nuances are lost, that ends up challenging the viewer and keeping him engaged. On the other hand, because of gaps in time, Ana is difficult to grasp. She becomes a completely different person, which goes so far as her accent changing, and due to the elliptical nature of the story, she also feels emotionally like a third character in the relationship.
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Whereas Toma is more consistent throughout, Ana is fractured, making her feel foreign and inauthentic. This is part of the reason why the second half of the film lost some momentum. Share your thoughts with other customers. Write a customer review. Showing of 1 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later.
Movie makes Godard look like a clown often.
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