Une oeuvre fort prétentieuse, d’un intellectualisme mondain, échafaudée à une cinéphilie mal digérée (Vinterberg, Delvaux, Tarkovski) avec un zeste d’animation et l’incontournable caméra numérique, pour un résultat piètre, énervant, factice... www.cinefiches.com
Es bueno que desde un inicio se nos aclare qué y por qué es que el personaje se dedica intensamente a la música.
Es curioso como todas las escenas del film se desarrollan durante la noche, tal vez ligado al temperamento del personaje. Así como la ficción presente al olvido de sus recuerdos es interesante, pero hay ciertos huecos y pienso es, por la poca duración del film.
Thoroughly disappointed by this film. As a classical pianist and lover of musical performance, this film starts off with that in mind then veers off. Disregarding that, the premise of the film also starts out strong but doesn't live up to it's own ambitions and is over self-indulgent without providing a captivating dynamic. This film simply isn't as good as it likes to think it is!
This was hard work making it through till the end and I was left wondering if it was worth the effort. Echoes of Gondry certainly, But a poor mans Eternal Sunshine of The Spotless Mind non the less. The story was thinner but much more complex and confusing than the former.
Certainly an intriguing, and unexpected, premise but the film is plagued by not being able to reach its own lofty ambitions. Technically it just comes across as dodgy and limp rather than purposefully lo-fi, the acting isn't particularly memorable and the director seems fixated on doing extreme close-ups of Helena Christensen's face rather than spending time with the intricacies of the plot. Lovely music score mind.
I can't help thinking this would have made a great novel by Peter Hoeg. As a film it is neither sufficiently romantic nor sufficiently coldly impersonal. Many will empathise with the conceit of putting memories into boxes in order to forget. Eexpanding the box to a whole area of Copenhagen is a great idea. But we need to be shown more; told less. Still 'you have to come back and pick up your talent' is a great line!
Very theatrical, best appreciated from a distance.
Up close, you struggle to believe in his great love, which is approached with the same restraint as piano-land.
A pity they captured the stage with a handheld camera, because I think the human element was lost in the rush. The zone is a wonderful concept, but it can't tell us that (as it does here). We have to find that out for ourselves, as in Tarkovsky's Stalker.