The protagonists looking directly into the camera removes all point of views and perspectives. It further creates the emotional distance of individuals physically near, mirroring the themes in Munch's paintings. The use of diegetic sound throughout also adds to the inner dimension against the fast spinning images populating Munch's outer experience. Intense themes treated with the utmost delicacy and honesty.
A tough if moving watch. A tad long and over-indulgent, perhaps but Watkins paints a picture of an age and societies in much the same way that Munch tried to channel emotions in his works - through colour and form and shadow and obscurantism. A revelatory and biopic.The sad, haunting gaze of Geir Westby will stick with you like Munch's grim images.
I think this film has changed my life. It encapsulates the emotional process of real art so well. Grief and it's build up can only be understood as a slow visual burning of the soul. I love the way the characters look at the camera with the confidence that we are seeing them and to remind us that this is documentary style. And the colours !! I wish I'd seen this on the big screen.
Expressionistic, in the form Munch, almost as if he's directed his own fly-on-the-wall autobiography. Easily one of the best ever biopics, set at the dawn of modern alternative political ideology, it then delves into a personal exploration of Munch's social and emotional life, showing aspects of him, a spectrum from romantic to misogynistic. An impressionistic blend of visual, aural and emotional light and shadow.
Had to watch this 3 1/2 hour beast in two halves (started it last night) but it was quite the unique and enthralling experience. Eye-opening, so dry that it feels practically Pythonesque at times, and while not always visually beautiful, it's gorgeously composed in the way it shows life events infusing the word of Munch. You wander into that world, like an animated display in a museum, and are never rushing to leave.
Unlike anything I have seen before. Hugely insightful bravura film-making that really captures the time, place and essence of Munch in a highly original way. It did drag a little in the middle, so I might have preferred the original 174 min cut, but this film is unquestionably a five-star work of art.
Of course there's something very Watkins about this. But there's something else to it as well. Not quite something Munch... More like, some part of Watkins, turned over to deep, creative empathy with Munch. Like a medium, channelling the essence of Munch, asking him to co-direct the film. Layered, saturated with context, with multiple expressions of time, with feeling, with the clarity and chaos of subjectivity. 4.5
"Seeking to de-emphasize all unimportant details by blurring their images - struggling to eliminate Mrs. Heiberg from his mind - striving somehow to impart the quiver and intensity of his feelings onto the raw surface of his canvas - seeking to awaken a similar mood in the viewer - Munch works and reworks the head of his sister - detailing hair, eyes and mouth - only to scrap the oil from the canvas and begin again.
Perayaan perasaan tak terkata yg diekspresikan didetil hidup Edvard Munch hanya dapat dinikmati kaum kelas menengah atas. Untuk kaum dibawahnya, ada rasa 'terkatakan' yg belum selesai mereka benahi. Lucunya, yg bukan kaum terkutuk dg kasta rendah pun meromantisir hidup. Kegelisahan dan kegamangan yang kita tahu juga produk sampingan kebebasan, waktu luang dan privilese.
3.5. The version longue is a mistake, I think. Watkins' technique becomes monotonous. The repetition, the voiceover commentary, the flashbacks, the smoky bars, Edvard's sullen mug. "And so for the fifteenth time in the picture Munch held an exhibition that received a universally hostile reception," etc.