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.
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
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.
A harrowing short monologue about the sad case of Rosalie who after being repeatedly seduced by an army officer becomes pregnant with twins and tragically kills her new born babies. We only see and hear from Rosalie and there are snatches of shots of the evidence laid out before her. SImple yet powerful, short but concise, and wrapping with an unexpected ending. Totally worth the 15 minute investment.
The opening travelling is close to perfection. You understand everything in an eye blink, you guess what happened from the objects, you hear the sobs in the background. Later on, the editing work as well but i'm not sure about Borowczyk playing once again with objects : stop motion, disappearing... Why ? This has a realistic almost documentary quality and the magic ruins it. Very good adaptation of Maupassant.
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 !