Yekaterina's soft voice...God, how I miss her! T_T The movie itself is very hypnotic. Couldn't really grasp what happened until about an hour after the movie was over. Still, I couldn't stop watching nor forgetting.
There is a shot in this film that is almost identical to a shot in Hutton's At Sea, and it suddenly made imagine that Denis and Hutton could have been shooting at the same time. The two films couldn't be more different, yet they both seem to put me in the same space: an open plane in which allows ideas to emerge, in which active viewing becomes part of the creative process.
A film of seemingly unfathomable depths. Where those depths lead, however, I can't claim to know or guess with any great certainty. L'Intrus hangs in the air like a phantom of the bodily present, haunting what may be the past or what may not be at all, but which seems to be the elements of its own constitution. Denis has drawn out something special in this film.
A very puzzly and beautiful movie that needs to be absorbed and interpretet in a very subjective way. I liked it's flow and the mixture of reality, dream and subconscious tricks. And I strongly dig the political tone to it! But I got bored a bit by the same methods and grips of the photography - close ups from behind and the side, static landscape shoots and the filming from a moving vehicle. To little to overused.
The film's elliptical style casts you in the role of a detective. Was that real or a dream? I certainly identified with the son not really understanding the father. It's based on a humorous work by Jean-Luc Nancy in which a man uses his brain to try to understand his new heart. The father doesn't really have a heart, and even after he gets a new one, he still doesn't know how to use it. It's just an intruder.
The most singular woman filmmaker along with Akerman. Still Scratching my head on this one! The most frustrating is that i need to re-watch the film, but i can't find the time and the patience required.