Film Review Persecution
Patrice Chereau is continuing to reflect on the difficult art of loving. But the exercise seems winded. On closer inspection, they have tackled head on or through, all the films of Patrice Chereau have always talked about this : the difficulties of love, the unbearable lightness of feeling love, the fiery bite of romance.
Man injured, Queen Margot (The filmmaker also found here Hugues Anglade Jean) Gabrielle, Intimacy or His brother (Already works by writer Anne – Louise Tridivic), all arose because their eyes in their own way, on people weakened by their desire to love men and women at bay, caught in the midst of impossible Relations to another. No wonder that Persecution continue to turn the year by offering its variation on a dry and dark theme. Much more surprising still is that this time so winded.
Daniel, 35, renovates apartments in Paris. A normal life with a simple routine will soon be shattered by the arrival of a stranger ( Anglade, lacking direction) watching Daniel, forcing it into its final entrenchment in him loudly declaring his love. While Daniel attempts to make peace with this intrusion, he does not realize that his attitude toward his wife Sonia, a sweet woman and strong at once, taken by his work, is also changing.
Love, is it persecution? Can one desire without harassment? The link to the other is it more selfish than it seems? So around these issues prior exciting as articulated Persecution, study habits as much as psychologizing portrait of a man adrift in official competition at Venice last year. But these questions also heavy, constantly over-served in the film by a massive symbolism and dialogue that clumsy and talkative Persecution can never really escape beyond its theoretical framework too, to simply move.
Missing so real dramatic force and true transcendence, staged with a theatrical artificial despite some moments of evanescence charge (including earned through photography harsh and hypnotic Yves Cape, collaborator Bruno Dumont), often pompous and affirming same constantly frankly unsympathetic character, the film can still count on the power and finesse of two actors whose face- to-face surprises as he seduces : Romain Duris, disheveled, on edge and abrasive Charlotte Gainsbourg, whose presence literally illuminates light and delicate and rough winter this drama. Backbone of the work, their benefits do not yet suffice to rid Persecution its nail plate and pretentious. In the realm of the persecuted, this is the viewer who is king.
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