Green sigue siendo fiel a sus personajes que están en plena búsqueda de identidad, necesidad que se eleva a lo existencial. Para esto recurre al juego dialéctico y la prosa académica, normativas que no hacen más que desplegar la sabiduría. La "sabiduría" ha sido siempre una palabra sobreentendida en las películas de Green. En este filme, de igual forma, la sabiduría es histórica y funciona para el presente.
Eugène Green: one of the best things going in contemporary cinema. He has practically re-invented shot reverse shot for Western cinema. The deadened affect of his actors makes the profundity of their words, gestures, and situations all the more graceful, whilst also removing any traces of self-seriousness. His movies remind me more of Mark Rappaport's fiction films than Bresson. And we needed a movie about sapience.
"Indie" cinema # 14: from the life of imitations. A reasonable imitator, not always interesting, of the idiosyncratic European cinema - Bresson,Oliveira - Green, a fairly pretentious American, overcome its obvious copyists limitations by a romanesque integration of European art in his usual descriptive system, surpassing the Renaissance masterclass by a wise writing of panoramics, light and sound.
FNC '14 Green follows up 'The Portuguese Nun' with this breathtaking film looking at passion and light in all things especially architecture and love. A passionless couple take a trip to Italy and in meeting a young man and his sister open themselves to rediscovering their passion for life. Beautifully made with a certain sterility that works in its favour. Green's film aches for preservation of art and passion.