Kékszakállú starts off with a disadvantage: it adamantly recreates a sort of purgatory, first in privileged youth malaise and summer daze, then, more interestingly, in the progression to adulthood and responsibility. Though inspired by Hungarian composer Bela Bartok’s opera, director Gaston Solnicki eschews narrative, depicting the lives of various young women briefly immersed in singular activities. That all three parts of the film, each briefly linked by the eponymous opera and each vaguely presenting a sort of phase of life, all embody a suffocating atmosphere is a bold take on mundanity — how society and structure of life forces conformation.
Specific developments and narratives as a whole are quite difficult to pinpoint, but each shot is effective in isolation. Cinematographers Diego Poleri and Fernando Lockett impeccably design every image, aesthetically pleasing because of their mathematically crafted perfection while simultaneously suffocating at times for the same reasons. Bodies, frozen stiff, fit...
Specific developments and narratives as a whole are quite difficult to pinpoint, but each shot is effective in isolation. Cinematographers Diego Poleri and Fernando Lockett impeccably design every image, aesthetically pleasing because of their mathematically crafted perfection while simultaneously suffocating at times for the same reasons. Bodies, frozen stiff, fit...
- 7/20/2017
- by The Film Stage
- The Film Stage
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