Se pone cada vez mejor, con un misterio que se profundiza (aunque seguramente no tendrá solución, o ésta se reducirá al absurdo). Se pierden objetivos: Colin deja de seguir a los Trece por cortejar a Pauline, una de las compañías de actores suspende los ensayos para buscar al ladrón de un dinero recién ganado. Easy come, easy go. Pero parece que quienes buscan están cada vez más cerca de encontrar... algo.
As the characters start to cross paths and as the exodus from the group effervescence in the play rehearsals begins to bring the theatre members close to the blasé epicurean conformity they, as Promethean 'dreamers' should, by Marxist standards, resent, the enigmatic intersection of human agency and History seems now probably looser. As the sharp Madagascar dialogue reveals, the insiders are outsiders and vice versa.
Episodes 5 and 6 made me google the fantastic actors whose work would keep us watching for weeks, not days. Juliet Berto, who married Michel Berto. At 42 breast cancer kills Ms. Berto in 1990. The horror of her early death echoes so many in the same time. In some ways medicine has not progressed far from Balzac’s time, circa 1825-1850. Facts belie the life and fire the actors display in every scene.
Pushed aside those long, non-narrative, rehearsals scenes that weighed down the previous episodes, the movie has finally become fully enjoyable (the same characters seem to recognize it in an apparently self-conscious, meta-filmic, dialogue). Plot's ambiguities start to look clearer (Les Treize’s identities, their purpose - is there no purpose... yet? -); episodes 7 & 8 promise to be enthralling.
The plot thickens, or at least materialises for the audience, whilst disappearing for the performers, who leave their studios but not their movement exercises behind, leading to some Sacha Baron Cohen style not-so-hidden camera scenes with the public and some out in the open discussions of secret societies that apparently actually do exist and still it runs on, a plot now but a period not yet in sight.