A man calling himself Boris, arrives in a village in Central Europe, claiming to have been a friend of a local lad who disappeared since the war. His conflicting tale gives rise to doubts about his story.
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The most dense and impenetrable of ARG's experiments with unreliable storytellers and the malleability of narrative form. Visually indebted to the work of the Czech New Wave, the stark black & white imagery, crumbling architecture and wide-angle lenses distort the perspective of the story; making it even more difficult for the viewer to differentiate between the layers of truth and fiction, dream and nightmare, etc.
This is the last film Robbe-Grillet made without the naked ladies. After this film he lost his goddamn mind. It's not quite as good as 'Trans-Europ Express' mainly for the reason that it takes itself too seriously. It's about the problem of collaboration with the Germans during WWII.
Stunning, provocative, dreamy, clever, just a few words I could use to describe this film. The dream logic and schizophrenic jumping within this film could have turned into a disastrous mess, but handled so confidently by Robbe-Grillet, it feels authentic and very well constructed without appearing random and senseless, which surely was the danger. I can't wait to see more of Robbe-Grillet's films now.
Robbe-Grillet al cien por cien.
La película comienza con mi idolatrado Jean-Louis Trintignant, perfectamente engalanado, corriendo por un bosque para escapar de los tiros de unos soldados. La lía cuando se presenta como "Boris, aunque normalmente me llaman Jean, y otras El ucraniano".