a_ga_tha
A rejoint le mai 2014
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Note de a_ga_tha
Most will be familiar with Campillo's work from the TV adaptation of his film The Returned, Eastern Boys shares many of the same qualities of the TV show; a poetic approach to actions that are usually bluntly handled in cinema. Somehow Campillo manages to seamlessly combine several paradoxical elements and genres and still create an elegant and complete film.
The opening scenes are enough to cement the atmosphere of the film, as you are introduced to the eastern boys of the title, hanging around in the Gare du Nord, but it takes an impressive amount of time before their occupation becomes clear, and even then the plot meanders in ways that you may not be expecting.
Olivier Raboudin and newcomer Kirill Emelyanov are exceptional in the central roles, but Daniil Vorobyev is a revelation as the scene stealing psychotic boss, a performance which easily matches Gary Oldman's Stanfield from Leon. These characters and all the supporting roles are skillfully captured with a minimal and subtle script, that highlights Campillo's peculiar and under appreciated talent to bring cold environments to life.
The opening scenes are enough to cement the atmosphere of the film, as you are introduced to the eastern boys of the title, hanging around in the Gare du Nord, but it takes an impressive amount of time before their occupation becomes clear, and even then the plot meanders in ways that you may not be expecting.
Olivier Raboudin and newcomer Kirill Emelyanov are exceptional in the central roles, but Daniil Vorobyev is a revelation as the scene stealing psychotic boss, a performance which easily matches Gary Oldman's Stanfield from Leon. These characters and all the supporting roles are skillfully captured with a minimal and subtle script, that highlights Campillo's peculiar and under appreciated talent to bring cold environments to life.
The Edinburgh International Film Festival brochure pointed out how similar this film is to the work of the great Ozu; in its quietness and framing. A slowly paced film, with a focus on character and the small interactions and motions that are part of everyday life. Although the poster shows both father and son, the film is focused on the father, Costache, played with tender stubbornness Rebengiuc.
Opening slowly as Costache, doesn't so much rebuild his life, he just gets on with things, after a flood has destroyed his home. It feels as though the film will increase in drama as the story of his estranged son emerges, but the return of his son and his family is handled with such care, that the film is able to become a gentler study of restrained paternal relationships. Any initial misconception that Costache is unable to connect emotionally to others is refuted as he embraces his new role as grandfather.
Jurgiu depicts Costache's village life without resorting to any clichés or easy comedic targets and finds the same sort of beauty in interiors and quiet streets as Ozu could. It may sound as if this film isn't really about anything in particular and to a certain extent that is true, but it more that makes up for that in its sincerity and heart.
Opening slowly as Costache, doesn't so much rebuild his life, he just gets on with things, after a flood has destroyed his home. It feels as though the film will increase in drama as the story of his estranged son emerges, but the return of his son and his family is handled with such care, that the film is able to become a gentler study of restrained paternal relationships. Any initial misconception that Costache is unable to connect emotionally to others is refuted as he embraces his new role as grandfather.
Jurgiu depicts Costache's village life without resorting to any clichés or easy comedic targets and finds the same sort of beauty in interiors and quiet streets as Ozu could. It may sound as if this film isn't really about anything in particular and to a certain extent that is true, but it more that makes up for that in its sincerity and heart.
