D'une simplicité désarmante, Western réinvente le genre avec des acteurs amateurs qui offrent au film une spontanéité très touchante. Une ode à la possibilité de tout recommencer ailleurs, en toute liberté, et à une fraternité d'autant plus belle qu'elle ne va pas toujours de soi. Chronique complète sur Citazine : http://www.citazine.fr/article/western-conquete-de-est-europeen
Fantasticly slow build up of tension that might get you a bit dissapointed with its, a bit, anticlimax ending. A true western of it's kind with the (anti)hero not riding Shane-like mysteriously into the sunset leaving everything and everyone behind but actually looking for his place in the world, for a home, for a place he will belong to.
CINEMA, DCP _ I love the way Grisebach works with non-professional actors, it is not Bresson or Dumont at all, closer to maybe what Pialat was able to pull out from his actors. Which means : close to the best you can reach. The clever script adds to it and obviously plays with the codes of Western (horses, virility, violence, the idea of frontier, of opposed cultures etc). It was worth waiting 11 years !
WESTERN struck me as strange, putting me in an unaccustomed position as viewer. It is clearly something blocked-out, but there is a remarkable organicism and quality of immanence; it drew me in but almost completely failed to register as an artistic or certainly as an "aesthetic" experience. It becomes very much about "being w/" the characters on screen. That the film is so strong is a testament to its non-actors.
(Cannes 2017) Wonderful use of classic Western tropes - campfires, horses, guitars, sweeping vistas, cicadas, betrayal, brotherhood, machismo etc. - to tell the story of German itinerant construction workers in rural Bulgaria. Very strong characters, performances and story, with a perfect ending.