Saturday, January 15, 2011

Holly Willoughby Birthday

Fire, Denis Villeneuve , 2010

I'm exhausted, it's the middle of the night. Since I left the theater, my mouth in an arc pointing downward like old women Breton sailors. And staring into space. I need some time to get to the evidence that I can not do otherwise than writing after seeing a film of such intensity. Otherwise this blog would be meaningless.

Fire begins with a scene in which a sergeant in military dress shaved head of a young boy. This child has three dots tattooed on his right heel. He is the son of Nawal, a young Christian campaign whose brothers were killed mercilessly nationalist lover, a Muslim refugee named Wahab. Already this scene of horror movie chills us with its unexpected and sudden. The brothers come close to their sister and her Wahab they were caught fleeing the countryside and they shoot a bullet at point-blank in the head of a young man in front of Nawal. " You are a disgrace to our family ," say the brothers to their sister, little resistant to the urge to shoot him too. The film begins on a life shattered by Conflict of honor in a Middle Eastern family, itself in the grip of desperate Arab machismo.

But Nawal Wahab is pregnant. After several days of inconsolable sadness during which she mourns his misfortune without eating, Nawal decides to trust her grandmother who makes him realize that the only chance for her to escape is to entrust the child to a orphanage in the area and leave this place where the tragedy has already crushed part of his life. His grandmother says she can leave him with his uncle in Daresh (the capital of this imaginary country) where she can learn. The day the baby is born, before leaving the orphanage, the grandmother three dots tattooed on the right heel of the newborn boy, she shows her mother so she can find it. Then there are

Nawal, a few years later became a journalist in the student newspaper at the university that promotes inter-communal peace and therefore anti-nationalist. But the more it learns and older, Nawal wants to find his son. While the civil war broke out, and villages are destroyed in the south by the militias on both sides, Nawal takes the road to the orphanage South where her child had been entrusted, to discover that the building was attacked and he remains in ruins. Without despair, with unfailing determination, she continued her journey on foot. But up in the wrong bus, one that will change her life forever and who will lead a few years later, in squalid and inhumane prison policy FHAR Riyadh for 15 years, where, walking in his tiny cell for not succumbing to insanity, and singing to cover the sounds of torture suffered by other women, she becomes "the woman who sings . On his release from prison 15 years later his burden herself does not know yet really, is heavier than the rock of Sisyphus. After his death, in Canada, where Nawal spent the rest of his life, his two fraternal twins who grew up with her in America and know nothing about its history, and thus their own, will open up a will that will plunge into the the 15 years in prison and their mother in the relentless search of their father who is still alive.

We can not escape unscathed from Fire . Like the latter scene Life is Beautiful where the boy remained alive thanks to the sacrifice of his father threw himself into the arms of his mother shouting " we won! ", the outcome of Fire is a poetry so exceptional that it exudes a timeless force, which affects all humanity. The triumph of sweetness that ignominy. He had to go back to last summer and Eleni, earth crying Theo Angelopoulos for a film upsets me as much.

I can not describe this movie without my fins awarded gold for personal Wajdi Mouawad's genius history, but also to Denis Villeneuve, with a tremendous talent, managed to combine everything auteur cinema International subdue creativity and artistic freedom (editing, effects, cropping) to the rhythm and emotional force of a great Hollywood movie. The series of frames with eccentric plans, the focus of semi-fuzzy camera, and the brilliant semi-darkness to The Yards, in which Simon realizes that 1 and 1 were 1 and no 2 will remain etched in the sun in my memory as the name of Nawal on his coffin closed by the seal of truth.

Finally, the sacred fire of Lubna Azabal antigonien which gives character to the character of Nawal. Since James Spalder recently discovered in Sex, Lies and Videos (Golden Palm 1989), few players have given me such a strong impression of their character, completely, body and soul, totally forgetting the camera, which to quote Michael Caine during his master class two weeks ago at the Forum des Images, is the best compliment one can give an actor.

Fire is a spark that blew the heart.


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