Apologies for the summary line, which I simply cannot resist. The first two of the late, legendary director Kieslowski's legacy of the trilogy which, he presumably was going to make himself, were acquired by two highly respected directors. Tom Tykwer (Lola Rennt) made "Heaven" a few years ago and Danis Tanovic (No Man's Land) made "Hell" (L'Enfer) last year.
One thing immediately noticeable about L'Enfer is style. Director Tanovic seems very fond of using vertical shots (reminding me strangely the stabbing scene in "Psycho" not the shower scene, of course). It was a while ago when I watched "No Man's Land" but I don't recall similar shots. This may be viewed as director Tanovic's versatility in employing the camera, as in the 360 degree shot that accentuate the protagonist's emotion. Also used quite extensively is silhouette, to various degrees, showing a dark object against light in the background. Coincidence or not, director Tykwer also used silhouette in "Heaven", but the impact of that scene is so dumbfounding that by comparison, silhouette scenes in L'Enfer are only pale shadows.
While Heaven has flashes of controversial and provocative ideas as well as rich symbolism throughout, Hell stays on traditional, sometime even melodramatic ground, leading us through a web of tragic human traits doubt, infidelity, selfishness, to mention just a few. The use of Medea, the tragedy of tragedies in Greek mythology, as the subject of a college project is not incidental. The elements of misunderstanding, deceit, vengeance and unforgiving stubbornness underpin the tragedy surrounding the three sisters haunted by a nightmarish childhood experience.
Sophie, tormented by her gnawing resentment of an unfaithful husband, is played by Emmanuelle Beart who will be remembered by those who have seen Ozon's "8 women" as the subtly sexy maid Louise. Attractive and unsophisticated Anne (Marie Gillian) is hopelessly attached to her professor who has a daughter about her own age. Subdued Celine (Karin Viard) is left with the task of providing occasional company to their partially incapacitated mother, wheel-chair bound and unable to talk (but can write). Appearance of what appears to be an unlikely, handsome suitor turns up dark hidden secrets that was the common root of the tragic heritage of the sisters. More I'll not reveal.
Hell is well crafted, beautifully shot, capably acted and provides keen insights that will be reflected on. And yet, it just lacks that innovative spirit that puts Heaven one notch above it.
One thing immediately noticeable about L'Enfer is style. Director Tanovic seems very fond of using vertical shots (reminding me strangely the stabbing scene in "Psycho" not the shower scene, of course). It was a while ago when I watched "No Man's Land" but I don't recall similar shots. This may be viewed as director Tanovic's versatility in employing the camera, as in the 360 degree shot that accentuate the protagonist's emotion. Also used quite extensively is silhouette, to various degrees, showing a dark object against light in the background. Coincidence or not, director Tykwer also used silhouette in "Heaven", but the impact of that scene is so dumbfounding that by comparison, silhouette scenes in L'Enfer are only pale shadows.
While Heaven has flashes of controversial and provocative ideas as well as rich symbolism throughout, Hell stays on traditional, sometime even melodramatic ground, leading us through a web of tragic human traits doubt, infidelity, selfishness, to mention just a few. The use of Medea, the tragedy of tragedies in Greek mythology, as the subject of a college project is not incidental. The elements of misunderstanding, deceit, vengeance and unforgiving stubbornness underpin the tragedy surrounding the three sisters haunted by a nightmarish childhood experience.
Sophie, tormented by her gnawing resentment of an unfaithful husband, is played by Emmanuelle Beart who will be remembered by those who have seen Ozon's "8 women" as the subtly sexy maid Louise. Attractive and unsophisticated Anne (Marie Gillian) is hopelessly attached to her professor who has a daughter about her own age. Subdued Celine (Karin Viard) is left with the task of providing occasional company to their partially incapacitated mother, wheel-chair bound and unable to talk (but can write). Appearance of what appears to be an unlikely, handsome suitor turns up dark hidden secrets that was the common root of the tragic heritage of the sisters. More I'll not reveal.
Hell is well crafted, beautifully shot, capably acted and provides keen insights that will be reflected on. And yet, it just lacks that innovative spirit that puts Heaven one notch above it.