Bled Number One

Even if the cinema is discovered more than a century ago, the director of this film shots today in a, so to say, genuine style (we could say à la Lumière), that is disregarding any authorial input, getting rid of any drama rules, collapsing the dialogs and then just standing discreetly in front of (apparently) «nothing happens». A very acute authenticity rises then, in this non-interventionist way of filming which provide some beautiful portraits (in gros-plan) and a collection of «bricks» of pure (inner) time. The movie is supposed to be charming and original in giving us all freedom to see these bricks together in a virtual composition. But this is a little bit too virtual even if I appreciate this particular way of being «cool» by letting the story to tell (or to lose) itself. A story about Algeria, about the schizoid life with strong traditions placed in the horizon of the largely spread emigration in France. The film let us ask ourselves if the ingenuousness has been really lost in cinema.