Mon amour datingside

Posted by / 26-Mar-2018 03:44

Felin is telling the stories of poignant characters in a poetic and visually stunning array, minus a narrative of sorrow and pity that permeates similar dramas.

In Kabic, a small southeast fishing village outside of Jacmel, we meet four characters trying to make sense out of their existence.

A young Emmanuelle Riva, who recently turned in a devastating performance as an octogenarian in the Oscar-winning Amour, broke through as a star with Hiroshima Mon Amour, Alain Resnais’ exquisitely beautiful and harrowing meditation on war and love.

The retina-burning news footage of the aftermath of the Hiroshima bomb of 1945 — an irradiated agonised baby, the loss of victims’ hair, the black city — is intercut with the balm of elegant bedroom scenes and the soft dark on light skin of two lovers: Riva’s “Her” and Eiji Okada’s “Him”. They are both married and have 36 hours left together in the city before they must part for ever.

But over the course of the weekend they spend together, deeper psychological currents are tapped into, presented to the audience in a striking, unconventional manner.

By employing stilted, intellectually portentous dialogue, placing the story in a fascinating but in many respects horrifying cultural context and unfolding the plot through abrupt and unannounced displacements in time, director Alain Resnais and screenwriter Marguerite Duras crafted an experience that doesn’t necessarily lend itself to easy absorption, at least without some degree of determination, for those who come to it unprepared or unaware.

This style quickly became commonplace, used by Chris Marker through Stanley Donen.

It's easy to forget how close it is to how memory actually works — the way the past to us is always present, summoned up in brief flashes, not big fat flashbacks.

Here is where Resnais steps in, jumping around her past, inserting brief cutaways to her memories, and we're gradually able to piece together her own tragic past.

writer-director Guetty Felin A magical neorealist tale, ""Ayiti Mon Amour" is a love poem to my native land; a place that I ache for, that haunts me, that frightens and yet angers me, a place that I am fiercely and madly in love with,” says Felin.

For the director, “Ayiti” was born out of her desire “to make something out of nothing…the desire to no longer be waiting for approval, for funders, for bankable actors.” She regards her film as inspired by Italian neo-realism director Roberto Rossellini’s “Paisan” (1946), and all about “salvaging love after disaster.” The film stars Anisia Uzeyman (Alain Gomis’ “Tey” and director of upcoming narrative “Dreamstates”), Joakim Ethan Cohen, Jaures Andris, Pascale Faublas, James Noel, Judith Jeudi.

Nothing quite like it existed prior to 1959; there’s still nothing quite like it.

Upon first impression, the stark, angular and abstract constructions of Hiroshima mon amour (released in a new upgraded edition earlier this month by the Criterion Collection) serve as a kind of filter that separates viewers who find themselves bored or baffled by what they see from those who emerge from the viewing with a distinct affinity for the pair of anguished lovers at the heart of the film.

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She keeps trying to escape, to end the affair abruptly. But they’re not just, as in most affair pictures, talking about their feelings.

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