The first part of the film is beautiful. I love how they utilize the evidence and the sound of sobbing to tell a story of what happened to Rosalie that leads her to her own trial. It is very simple, yet an effective storytelling at the same time.
There's this moment where she's talking about the officer/relative of her employers (who got her pregnant & into this mess) and she looks back & sees her old self, that first love "you don't understand!" I'd do anything for him self, and she's totally overexposed so it's only her floating head... Straightforward only deceptively. Borowczyk was an alien intelligence, expressing his perception via embellishments, 3.5
Une fois n'est pas coutume, on voit ici le côté sérieux de Walerian Borowczyk. Son adaptation d'un texte de Maupassant joue à la fois sur le minimalisme (un monologue face caméra) et sur un montage habile et soigneusement rythmé (les différentes "pièces à conviction" ponctuent le discours du début à la fin). Le dispositif oblige à regarder, écouter et compatir à cette situation tragique. Du féminisme très efficace !
Excellent cinematography, beautiful minimalistic approach, skillful editing, overall visually this film is quite impressive. The story didn't engage me emotionally, and considering the subject and format, I guess this is a fail; it's probably due to acting, which I found rather disappointing.
Borowczyk's style, so unerring in many of his early shorts, seems a bit contrived here. It has the air of a video installation to be consumed in part or whole at a gallery rather than a film itself. It has its moments but didn't really convince me.
It's a good short, but it's just kinda what I expected from a 60s experimental director that's a friend of Chris Marker; too much symbols, too much acting, too much signification. Maybe it's just that today, seeing it is less of an experience than it was in the 60s. Maybe, in the 60s, it was revolutionary, and it helped define a genre - a genre that film student constantly trash with their end-of-school movies.