Settled during the May 1968 revolution in Paris, Lionel Bair‘S “Safe house“There is a picture of a comic family that is full of ideas that never completely co -resign. Reminds through the voiceover. Finally gives way to the moving dimensions because the history of the family fades to see, but some political or personal elements are anything poignant.
Although Boltanski’s family acts as a fuel for the screenplay, “The Safe House” anonymity and bends some details of the story, while retaining the broad base: one of the most important modern protests of France A saga appears in the margins. It has been reported, at least in the beginning, through the eyes of a nine -year -old boy (Ethan Chiminal), Boltanci himself was to be. However, despite this narrative excuse – who may have excuses some distorted music as a child’s interpretations – the film often survives from the character point of view, and even the performance of chiminal crackers, a more scattered. In favor of telling, with a slight meaning, the broader dynamics of the family.
As the narrator discusses the “safe house” from above, we are introducing the boys’ entrepreneur’s uncles – small (orriellian gabrielie), a visual artist, and the old (William Lebgil), an academic – as well as Idiocratic Dada -Dadi (Michelle Blanc and Dominic Remond), and his fiery great grandmother (Lilian Rovre), Odessa An immigrant. Although the Jewish background of the family becomes an important focus in the second half, it comes only on the occasion during introductory scenes, as an ambiguous aligned and aspirations in the aspirations put by disgusting neighbors.
The propulsive of these early scenes, the energy from a distant jacks is sufficient to set a leg for the story story, before the widespread politics in the backdrop, the parents of the young boy (Adrian Barzon, Larisa Faber) are away from domestic settings Do it Unfortunately, they are to start with a non-repressance, not the opposite of the tight house in family shares. The voiceover hires on its importance as a physical space, but the camera rarely captures it with a sense of space, or dynamics, or expansion.
The spirit of the event with which the ’68’ plays far in the background, speaks for a film, for which the political is of very little importance, or at least one who refers to the political through non-tingling. But the “The Safe House”, in fact, establishes the parameters of powerful drama around the events, although without focusing on its nuances. Instead, under the Nazi occupation, the history of the family as Jews under Nazi occupation echoes first through Dada’s clear PTSD (an element that appears suddenly) and through flashback Which draws gruesome similarities between two time periods. To connect them seems to have a movement of history – the idea that “something” is happening, even if neither the time period is shown with a sense of more history, or even intimate personal importance Too.
While the film comes out on removing from its characters, Bair connects at least the souls of the past through some of its performances. Blancing, in particular, is moving far ahead. Nevertheless, the family’s story rarely suffers from history. In the 1940s, more and more moments compared to the nominal in 1968 in the 1940s, it seems that there are a few more distance away, and even a major second World War statistics Phantamagorical appearance of the figure of World War II is not physical to these connections Can do
There is a mischief of how the film is introduced, and how it moves forward. However, both these parts are actually bound by the Jazz-Havi score of Diego Baldenwayg, Nora Baldenweg and Lionel Baldenwayg, in which familiar voice turns into tone. Visually, and thematic, the “The Safe House” can not be enough for its signs of proficient sonic storytelling, and often among methods of expression, unable to fully capture the weight of the experience, and personal and The burden of cultural memory.
