Madness and anarchism in Alain Klarer's L'Air du crime are too often self-oppressed, having forgotten to live free in their minds. Elena's "terrorism" and Robert's gratuitous quest are all irrational acts perhaps, but ultimately free, a form of rebirth. Yet, some will not be able to bear this madness, chained like Stutz to a coherent structure. Thus, the film moves towards lyricism. First through Peer Raben's music, then through Hugues Ryffel's images. A play on color and light, contrasting a cold, gray, metallic frame and lighting on the rational side, and a sublime, extraordinary blue towards Lake Lucerne, on the side of night, dreams, imagination, suicide, and freedom. Even if the simple narrative sometimes takes over from the madness of the film, it remains a very rich first work, a vast fresco of symbols and ideas. Frédéric Maire ( Président of the Swiss Cinémathèque?
