It takes a while to really get to what this film is about. It starts as if it were any number of French films about the Parisian bourgeoisie but quickly turns into a beautiful, symbolic film of a boy's search for a father figure. Combining the obvious biblical narrative and an amazingly paired down script. The acting is deliberately staged and laconic to steer it away from realism. A beautifully crafted film.
It took me a while to adjust to the deliberate under-acting. The dialogue was delivered with almost emotionless precision and the movements of the characters were slow and minimal. This, I later realised, allowed me to spend time actually looking at each scene, in much the same way that Vincent and Joseph studied the paintings and sculptures. An expertly crafted film with a touching story.
Hopefully just a place-holder, but for now: I really liked it. It is a good film. I won't say I sensed it immediately, but it didn't take long. Without in any way meaning to suggest a hierarchy, I don't think it would be too amiss to say it felt like ascending a slippery slope from Bresson through Kaurismaki to, crazily enough, and only in a very particular way, Capra. Maybe it's just the season.
+ Green's use of myth is hardly gratuitous. Jesus' story is as familiar to us as Cinderella's or Ulysses', hence director's meddling with a plot that stopped being a sacred and untouchable biography, becoming a modular, adaptable, shifting ensemble. Now the quirk distinguishing YHWH from diff. Supreme Beings was his being a divine Person revealed in History, a full-blown religious revolution! Unlike other God Persons
I would give this film between 3.5 and 4 stars i feel like the pacing at points is too pedestrian and the film gets bogged down sometimes. The style of acting is unique and the biblical allusions are not overplayed. I commend the film for its ambition, that it tries to ally big biblical themes with a story that is rather minimal and contained. A good film, well acted, it looks beautiful and I will watch it again.
None more droll. Loved this so much. From the deliberate stately Baroque staging and the beautifully delivered lines to the wonderfully beatific Natacha Regnier this is an absolute delight. And careful reading of the credits delivers some final amusement.
A biblical totum revolutum travelling across Testaments transmuting Jesus into a New Age stubborn Vincent scouting for his carpenter dad. The allegory is as forced as it is pointless. Trying mixing incredulous mysticism with a rather pedestrian mummy-whos-my-daddy? plot along with the special treatment of impassive manneristic performances is not a concoction most stomachs will endure gladly. So brace yourself.