Kati Outinen is memorably impenetrable as Iiris, whose grinding days as a cog in a factory wheel, and nights as a neglected daughter living with her parents, ultimately send her over the edge. The Match Factory Girl closes out the “Proletariat Trilogy” with a bang—and a whimper.
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Aki Kaurismaki manages to pull off another black comedy about the depressing conditions that surround the working class. Language fails to communicate for the characters, thus Kaurismaki statures this film with expressive music and cinematography. Socially-conscious dry humour? Sign me up.
Suicidal hardcore melodrama from start to finish. Macabre sarcastic conclusion radically different from Andersen's tale. So much clichés & pathos, even 2nd degree as with Almodovar, is hard to take. == Melo hardcore suicidaire de bout en bout. La conclusion macabre diffère radicalement du conte d'Andersen dont le film est inspiré. Tant de clichés & de pathos, même au 2e degré comme chez Almodovar, a du mal à passser.
I'm not familiar with Kaurismäki's work but I do love how he seems to only use dialogue when necessary and would rather show not tell. Meanwhile making use of expressive diegetic music & knowing when to let the camera linger.
This reminds me of SATURDAY NIGHT AND SUNDAY MORNING (1960), except it is more poetic in its use of stillness and in its subtle imagery (matches). Iris's quiet strength also calls up the early heroines in Mike Leigh.