Spaces Between: Green’s Controlled, Heavily Stylized Metaphor
Eugène Green is an American born filmmaker who has been steadily making foreign films over the past decade or so, more often than not in French. With his fifth feature, La Sapienza (Italian for ‘the wisdom’), Green provides a playful experiment of heavily stylized tone, focusing intently on specific, purposeful compositions that lends the film a rather off-putting dramatic pallor, especially for those seeking to emotionally engage with the material. Even as it explores certain ideas pertaining to the relationships between people, their past and present, and the distance between time, memory, and themselves, the film’s rigid artificiality often works staunchly against its overall effectiveness.
Frustrated architect Alexandre (Fabrizio Rongione) decides to take his wife Alienor (Christelle Prot) on a trip with him to Italy where he plans to research 17th century architect Francesco Borromini. It’s apparent that their relationship has become a stagnant union,...
Eugène Green is an American born filmmaker who has been steadily making foreign films over the past decade or so, more often than not in French. With his fifth feature, La Sapienza (Italian for ‘the wisdom’), Green provides a playful experiment of heavily stylized tone, focusing intently on specific, purposeful compositions that lends the film a rather off-putting dramatic pallor, especially for those seeking to emotionally engage with the material. Even as it explores certain ideas pertaining to the relationships between people, their past and present, and the distance between time, memory, and themselves, the film’s rigid artificiality often works staunchly against its overall effectiveness.
Frustrated architect Alexandre (Fabrizio Rongione) decides to take his wife Alienor (Christelle Prot) on a trip with him to Italy where he plans to research 17th century architect Francesco Borromini. It’s apparent that their relationship has become a stagnant union,...
- 3/20/2015
- by Nicholas Bell
- IONCINEMA.com
In Eugène Green's La Sapienza, a refugee identifying as a member of the long-disappeared Chaldean nation remarks that eventually his ethnic group and their language (Aramaic) will vanish. Regardless of whether the refugee is meant to be a vision, a ghost, or something else entirely, his point casts its shadow across this stirring film. So much human history vanishes, so in the present we strive to understand the past through whatever totems we can find. The totemic focus of Green's film is architecture. Alexandre (Fabrizio Rongione) and Aliénor (Christelle Prot Landman) are a French couple on holiday in Italy; he is a venerated architect reconnecting with the works of Francesco Borromini. The couple meets teenage Italian siblings Goffredo (Ludovico...
- 3/18/2015
- Village Voice
La Sapienza Kino Lorber Reviewed for Shockya by Harvey Karten. Data-based on Rotten Tomatoes. Grade: B+ Director: Eugène Green Screenwriter: Eugène Green Cast: Fabrizio Rongione, Christelle Prot, Ludovico Succio, Arianna Nastro, Hervé Compagne, Sabine Ponte Screened at: Dolby88, NYC, 3/11/15 Opens: March 20, 2015 In Edward Albee’s play “Who’s Afraid of Virginia Woolf,” George and Martha entertain a much younger couple, Nick and Honey. In discussing their merits and their appeal to women, George states “I have history on my side,” while Nick counters with “I have biology.” Reductive as this may be, a similar theme is on display in Eugène Green’s “La Sapienza,” or “Sapience.” Green, not well known [ Read More ]
The post La Sapienza Movie Review appeared first on Shockya.com.
The post La Sapienza Movie Review appeared first on Shockya.com.
- 3/16/2015
- by Harvey Karten
- ShockYa
Opening Night – World Premiere
Gone Girl
David Fincher, USA, 2014, Dcp, 150m
David Fincher’s film version of Gillian Flynn’s phenomenally successful best seller (adapted by the author) is one wild cinematic ride, a perfectly cast and intensely compressed portrait of a recession-era marriage contained within a devastating depiction of celebrity/media culture, shifting gears as smoothly as a Maserati 250F. Ben Affleck is Nick Dunne, whose wife Amy (Rosamund Pike) goes missing on the day of their fifth anniversary. Neil Patrick Harris is Amy’s old boyfriend Desi, Carrie Coon (who played Honey in Tracy Letts’s acclaimed production of Who’s Afraid of Virginia Woolf?) is Nick’s sister Margo, Kim Dickens (Treme, Friday Night Lights) is Detective Rhonda Boney, and Tyler Perry is Nick’s superstar lawyer Tanner Bolt. At once a grand panoramic vision of middle America, a uniquely disturbing exploration of the fault lines in a marriage,...
Gone Girl
David Fincher, USA, 2014, Dcp, 150m
David Fincher’s film version of Gillian Flynn’s phenomenally successful best seller (adapted by the author) is one wild cinematic ride, a perfectly cast and intensely compressed portrait of a recession-era marriage contained within a devastating depiction of celebrity/media culture, shifting gears as smoothly as a Maserati 250F. Ben Affleck is Nick Dunne, whose wife Amy (Rosamund Pike) goes missing on the day of their fifth anniversary. Neil Patrick Harris is Amy’s old boyfriend Desi, Carrie Coon (who played Honey in Tracy Letts’s acclaimed production of Who’s Afraid of Virginia Woolf?) is Nick’s sister Margo, Kim Dickens (Treme, Friday Night Lights) is Detective Rhonda Boney, and Tyler Perry is Nick’s superstar lawyer Tanner Bolt. At once a grand panoramic vision of middle America, a uniquely disturbing exploration of the fault lines in a marriage,...
- 8/20/2014
- by Notebook
- MUBI
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