The first half which we have seen many times before still startles with its effectiveness, achieving a shorthand of everyday neglected restlessness which builds in near silent reverie. The second act, unlike Ariel, is more prickly in the way it avoids the obvious audience expectations, not giving me the emotional catharsis I craved but maybe a more empowering one.
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.
Aki Kaurismaki takes advantage of the idea of cinema as a purely visual language and crafts a short story that surprises in every corner with its profound, dark humanity and subtlety. The director's distinct, extremely vivid colours do shine throughout the entire film (instead of colourful, the effect is of something quite depressing and bleak) as the potential of every shot is used to the absolute fullest.