A study of the self in transition, like an itch that once scratched only digs deeper. Two girls in two different states of displacement find their paths inextricably braided; a game of chicken which asks only who blinks first. CtLoA shows the frailty and strength of mimicry, and the tenuous line between something borrowed and something stolen.
Štaka miraculously finds a note of real menace in the seemingly idyllic, over-bleached sunniness of Dubrovnik, which is arguably the film's most interesting character; most of the film's best scenes and shots take place outdoors. The menace, threat, and dread at the center of this film make it what it is, and the proximity of the war - which we never actually see but are always aware of - achieves it brilliantly.
C'est un film qui me fait hésiter sur mon appréciation. Le trouble de l'identité, le thème du double, le poids de la culpabilité, sont traités avec des effets si communs, surtout par rapport à la sexualité ! Pourtant, certaines séquences ont une atmosphère particulière. C'est un film qui ne renouvelle pas le genre, ne surprend pas, donc ne marque pas.
El amor contiene cierta proporción de admiración, deseo por lo que el otro tiene y un deseo por obtenerlo, o al menos esta idea de complementación es llevada al extremo en la cinta. Brilla con el uso de una cinematografía limpia que destaca los ambientes calídos pero frígidos pero el diseño sonoro es una mezcla de ideas interesantes y stock sounds. Uno se cansa del mismo sonido de gaviotas y gatos, hombre.
Maybe this was a couple of paces away from something profound -if displacement were the theme then it succeeded. The ambiguous nature of the pivotal scene was intriguing but often I felt I was waiting for more to happen as though I was watching a spooky The Way Things Go (1987) due to the palpable uncertainty. Still the strong acting performances an kept me captivated despite my gripes so it deserves a few stars.
The best horror films are the quietest - think "The Innocents" or "Dead of Night" or just about anything by Val Lewton - and make no mistake this is a horror film. The 'Cure" is deadly quiet and nail-biting tense from its first moments to its final shot which suggests that Linda has found great pleasure in living the life of the a doppelganger and does not want that pleasure to end.
More a coming of age story than a ghost story, this movie's reach is more impressive than its grasp. While many of the characters are beguiling (especially the teens), others are underwritten, and many of the plot points get confusing in flashbacks that don't serve to advance the story. I did like the them of guilt and belonging, but wished the story better aligned with that.
Pese a que se nota una correcta comprensión del lenguaje cinematográfico y de la edición, la narrativa resulta completamente ilegible. Salvo una terrible interpretación de mi parte, esta película es poco más que una pérdida de tiempo. En su pretensión de irracionalidad se pierde del todo en sí misma. No imagino a quién podría recomendársela.
Cinematographically intriguing and musically intelligent, this simple piece starts off strong and finishes boldly but ticks along fairly slowly and incoherently in between. Fearlessly unexacting, yet intricately entwined within itself, it is unafraid in it's existential explorations. Worth a watch, if a little slow at times.
Interesting film with strong performances but unfocused in scripting which makes the film somewhat forgettable. Young Sylvie Marinkovic gives a very strong turn here and is certainly one to watch out for. The always reliable Mirjana Karanovic is also very good here. After the magnificent 'Fraulein' this reps a disappointment from the director despite its strong visual style and performances.
Genel olarak yavaş ve sessiz geçen bir Andrea Staka yapımı. Yönetmenin Das Fräulein'den sonra yaptığı ikinci uzun metrajlı film olarak seyirci karşısına çıkan bu filmin sinematografisi gayet güzeldi. Gerek kurgudaki kopukluğun, gerekse işlenişin yavaş olmasından dolayı tavsiye etmiyorum.