As one Russian cosmonaut during the Cold War after returning from a spacewalk said he had not seen God, I went to see Villa Amalia (2009) and the fact is that beauty promised critically not appear anywhere . Many beautiful landscapes abound, true, but that beauty molded base and mounting pictures, no nothing. Its director, Benoît Jacquot , is a veteran French filmmaker whose style forged decades ago, in full bloom of auteur, and since then has evolved very little. Jacquot continues to make movies based on frames, Theme acting movements and rhythms between sequences, of which both he , interpreters in interviews and - above all and especially - more classical critics, can extract all the meanings which they , because anything goes in this type Film (also for European critics copyright that exalted). Villa Amalia is a movie-style that were shot in France in the seventies of the twentieth century, in which we must be very careful, because if the player strikes a match is not only the gestures and actions shown, but the woman is starting important and transcendent. Even if it was then that several scenes meant doing the same otherwise, just as important but radically different. Fortunately, these dense films significance (often given by the critics) no longer abundant, and the fact tripping now and then is like playing a kind of lineup, you get distracted by identifying each significant element and placing it on the site which would accrue in accordance with a criterion for the award of intentions between perverse and complex.
Still, one must admit that Jacquot has hit several things: first, having chosen starring Isabelle Huppert, who is disturbing with that serene and simple beauty that has earned aged 57 , or live juxtaposed assembly that moves the story (no sustained levels and eternal, but inputs and outputs, fragments of shares that last just long enough to capture their functional significance: take a train, get off of it, change clothes, things like that ...). But mostly Italian Mediterranean election as an expression of their flight to places without shades , where the colors are pure and motion asusencia provide the illusion of a simple and happy life . Ann decides to remove her wealthy famous pianist's life when she discovers her husband is cheating, thus initiating a systematic process of simplifying your life: belongings, work, family - her mother, the ultimate goal of their past relationship, dies in full flight it - and friends (except one, who reunited at the most inappropriate). As you move away from its origins, more clinging and protected by Ann feels lonely, until one of his solitary walks finds an abandoned house in an Italian island and decided to settle there ... Temporary? notice that the protagonist, screenwriter, director and Pascal Quignard - author of the novel into - are (naively) believe that this way the pain will go away or be easier to isolate, and that will be moving the description of the process itself . We've seen too many times to brew in another film, at least not enough to portray the way it does Jacquot.
If this development argument does not convince you to go and see, with this text and have all the information you need to know that Villa Amalia is not your movie, unless the scenery alone would offset the remaining disappointing experience.
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