As an actor, Christine Stewart brings an integral kinetic energy to every role you play; Even when it is still, it still shakes its own intensity. As a director, give up Water timeline – Air conditioning of impressionist notes by the Worship writer Lydia Yukanwach, presented in the respect department at the Cannes Festival Festival – with the same personal electricity, and the bombing of what could be a traditional serial biography in shrapnel, fragments and waves that can be assembled together as we go. Or not, of course: those pieces of memory can be simply adopted in everything in a state of living and precisely planned chaos. If it is a biography, it is not like anything you have seen before.
IMOGEN POOTS plays the role of Lydia from her first scenes as a swimming champion in a student to her ultimate appearance as a stable life writer: home, partner, child and office with a water view. Like Stewart, the number of Bots is 35 years, but there is no moment when she wonders about this role; It does not depend on this type of realism. What you bring to Lydia, as the aggressor child of the bullying father and a permanent narcotic mother, is a conviction that has nothing to do with her actual age. She feels like a teenager, miserable and desperate to escape. It is the addict of the twenties that were removed by the paramedics. In the same amount, she is a bereaved mother and Ferrago, tortured alcohol. It is in every framework in practice and always feels right, and its performance is beating.
This urgency is also built in the construction of the movie. Everything in a fixed motion paid. The frantic liberation guarantees that the viewer is flashing forward and backward in time, and sometimes within one minute: these alternating shots such as a visual metonum, from side to side. Smaller sequences are divided with axial jumping pieces: just opening an envelope, including one second work, three pieces. The fingers are transferred around the paper action again, then again: Rip!
Voices, likewise, a surprise to us by coming from anywhere. The initial voice, apparently from Lydia's writings, is common-it seems, in fact, like teenage notes-but then we hear her father's voice, interfering in her life from thousands of miles, painful and disturbing. Or we hear a pencil for her, inflated to fill the room, as it ruins in her books with this insistence that it breaks the lead.
Lidia's Lodestar as a young child is her sister Claudia (Thora Birch) who returns to her life when she is older, pregnant and needed. In the memory parts that float through the narration, you remember that Claudia has left teenager “to save her private life”; She will be sent to her room to give her father (Michael IP, terrifying) freedom to overcome her, Hargo, and the abuse of the sister who would have taken her place later.
Exactly what is happening to girls is not detailed; Sexual scenes, regardless of some disturbing episodes of masturbation, are similarly conservative. Stewart greatly shows her characters closely, often from individual angles: looking at the chin, for example, or approaching the screen filling one or ear flower. There are moments when it is not completely clear from our samples in our eyes, but the shots are very short. They are all part of the same mosaic.
The liberation of Lydia from the past-real or, as it indicates in its voice, has been reshaped to a narration that was prepared for possession-when it joins a semester of writing in Oregon with Ken Casey, author of his book One flew over the cuckoo nest. Like it, a university athlete began, William Volkner loves and believes in words that go beyond anything else. Like it, it brings the hip bottle to the chapter. It is her generous spirit, but, most importantly, tells her that she is a writer. It is not a clear path, but it is its way forward. It is clear that Stewart, who was reading the notes that were the final result of the urgency of Casey, feels that she was one of the tribe. She says she was in the middle of the road only when she called Yuknavitch to ask if she could adapt it, then she spent eight years writing one copy after another.
The film, which I made in a time raw and constructively constructed, accurately and possibly risky like Jenga skyscraper. Many of the visual and normative artist can collapse easily, but it is fixed. At many levels, it should be like. Stewart has succeeded in finding a model for matching very visceral quality in the prose of Yuknavitch, as it is clear from the readings within the film, and its primary topic: shock. It also maintains unequal support for the central personality that is sometimes difficult to tolerate. At the same time, a lot of artistic complexity creates a feeling of distance from what we are told. We see what happened to Lidia Yuknavitch, we understand it, and we appreciate the art of Stewart. The pure effect, frankly, is a little cold.
address: Water timeline
festival: Cannes Festival (Understand)
exit: Christine Stewart
Screenplay: Christine Stewart, Andy Mingo
Empty: Imogen POOTS, Thora Burch, Michael EPP, Ear Cave, Jim Belushi
Sales agent: Les Films du Losang
Running time: 2 hours 8 minutes
