Dernière partie de la fameuse trilogie autrichienne, mettant en scène et en déconfiture de nouveaux personnages inadaptés et paumés qui semblent hanter bien des cinéastes de ce pays, du maître Michael Haneke , en passant par le tourmenté Markus Schleinzer, la radicale Jessica Hausner, le grinçant Wolfgang Murnberger, sans oublier la fiévreuse Ruth Mader . Etonnament jouissif et grinçant. www.cinefiches.com
"PH thrives on empathy and unease.... Its detailed understanding and even affection for [Melanie] makes for an ... experience in which nothing moves quite in the direction you expect it to.... More a critique of hope than an ode to it, the audience never questions [t]hat they're watching a pedophile taking advantage of a young, insecure girl, but they're forced to question what to make of it." - D. L. Dallas, Slant
As with the first two movies, I got frustrated by the rigid formalism, heavy choreography, and deadened environment of the frequent still shots, which cut up and separate the meatier, intensely naturalistic interpersonal scenes. But indubitably, those naturalistic moments are ABSURDLY well observed and the films are coherent and meaningful, so I have no serious complaints about Seidl's auteurish eccentricities.
Full of a truly genuine coming-of-age scenes that are so sweet and some that are utterly uncomfortable. A couple that will break your heart. It's kind of amazing. My biggest trouble with the film is the ending... which turns out to be another non-ending. This filmmaker is very weak when it comes to ending his movies. But the beauty of the story preceding the end is well worth the time.
Mentre la madre viene scopata (e truffata) dai negri in Africa, e la zia fa a cazzotti col marito arabo e storpio, la figlia/nipote cerca di scoparsi il direttore di un campo per ciccioni. Non ci riesce, un po' per decenza, un po' perché l'adolescenza fa schifo e tutte le speranze devono essere deluse - Oh! Quanto cazzo devi essere cinico per rendere una scopata simil-pedofilia mancata una roba negativa?
Seidl really crossed some boundaries with this film. I can't remember the last time I was THIS disgusted over two actors just LOOKING at each other. Were the characters wrong though? Is having feelings for each other a crime, merely because it's breaking the law? I wonder.
Astounding trilogy. Love, Faith, and Hope really put up a mirror in front of my face and forced me to reflect/examine myself from all perspectives. I felt that I connected with every character, main roles and supporting roles, and saw some extent of myself. It was sickening at points, but will undoubtedly reshape my perspective on the world; at least on some subconscious level.