Voyages
The first thing that strikes you about Voyages is its subtle nuances. It is about the scars of extreme violence, but nowhere in the film you witness that violence. Therein lies the power of this Emmanuel Finkiel-directed French feature. That Finkiel once assisted two greats, Krzysztof Kieslowski and Jean luc Godard, comes through in this film, through its powerful imagery. But at the same time, Finkiel has also been able to develop his own language of cinema, so beautifully illustrated particularly in the third of this three-segment film, in which Esther Gorintin gives an extremely powerful performance as Vera, the 85-year-old who comes from Russia to an Israel - which does not seem like the Promised Land of her dreams – in search of a cousin and more.
Indeed, Voyages about journeys that are more of the mind than of the body, though all the segments show the dramatis...
The first thing that strikes you about Voyages is its subtle nuances. It is about the scars of extreme violence, but nowhere in the film you witness that violence. Therein lies the power of this Emmanuel Finkiel-directed French feature. That Finkiel once assisted two greats, Krzysztof Kieslowski and Jean luc Godard, comes through in this film, through its powerful imagery. But at the same time, Finkiel has also been able to develop his own language of cinema, so beautifully illustrated particularly in the third of this three-segment film, in which Esther Gorintin gives an extremely powerful performance as Vera, the 85-year-old who comes from Russia to an Israel - which does not seem like the Promised Land of her dreams – in search of a cousin and more.
Indeed, Voyages about journeys that are more of the mind than of the body, though all the segments show the dramatis...
- 6/15/2010
- by Runumi G
- DearCinema.com
Since Otar Left
Zeitgeist Films
Almost unbearably moving at times, Julie Betuccelli's simple but sublime debut feature presents a portrait of maternal love and female fortitude that will reduce the stoniest of viewers to tears.
The tale of a deception practiced upon an elderly woman by her middle-aged daughter and granddaughter involving the fate of her beloved son, "Since Otar Left" overcomes its plot contrivances with a restrained emotionalism that never lapses into melodrama. Being shown at this year's New York Film Festival, the film is slated for a theatrical release via Zeitgeist Films.
The plot involves three generations of women living in Tbilisi, the capital of Georgia: the elderly Eka (Esther Gorintin), who doesn't let her age or frailty interfere with her determination or spirit; her daughter Marina (Nino Khomassouridze), who works hard to earn her mother's affection; and Marina's daughter Ada, a student trying to cope with her repressive environment. Eka lives for the infrequent communications by phone or mail from her cherished son Otar, who long ago left for a better life in Paris.
When Marina and Ada learn that Otar has been killed in an accident, they conspire to keep the news from Eka, fearing that she won't be able to survive the loss. For a while the deception goes smoothly, via faked letters, etc., and even with the unannounced arrival of one of Otar's friends, bearing some of his possessions, they're able to keep the secret. But they're ultimately helpless in the face of the old woman's determination to journey to Paris and see her son once more.
While the situation doesn't particularly lend itself to insightful drama, it is made indelible by the lead performance of Gorintin, who began her acting career five years ago at the age of 85. Her body stooped over with age, Gorintin's expressive eyes and determined demeanor express volumes, and her minimalist performance is deeply poignant. Her two co-stars are also very effective, but ultimately it is just the sight of this frail but indomitable old woman that will break your heart.
Almost unbearably moving at times, Julie Betuccelli's simple but sublime debut feature presents a portrait of maternal love and female fortitude that will reduce the stoniest of viewers to tears.
The tale of a deception practiced upon an elderly woman by her middle-aged daughter and granddaughter involving the fate of her beloved son, "Since Otar Left" overcomes its plot contrivances with a restrained emotionalism that never lapses into melodrama. Being shown at this year's New York Film Festival, the film is slated for a theatrical release via Zeitgeist Films.
The plot involves three generations of women living in Tbilisi, the capital of Georgia: the elderly Eka (Esther Gorintin), who doesn't let her age or frailty interfere with her determination or spirit; her daughter Marina (Nino Khomassouridze), who works hard to earn her mother's affection; and Marina's daughter Ada, a student trying to cope with her repressive environment. Eka lives for the infrequent communications by phone or mail from her cherished son Otar, who long ago left for a better life in Paris.
When Marina and Ada learn that Otar has been killed in an accident, they conspire to keep the news from Eka, fearing that she won't be able to survive the loss. For a while the deception goes smoothly, via faked letters, etc., and even with the unannounced arrival of one of Otar's friends, bearing some of his possessions, they're able to keep the secret. But they're ultimately helpless in the face of the old woman's determination to journey to Paris and see her son once more.
While the situation doesn't particularly lend itself to insightful drama, it is made indelible by the lead performance of Gorintin, who began her acting career five years ago at the age of 85. Her body stooped over with age, Gorintin's expressive eyes and determined demeanor express volumes, and her minimalist performance is deeply poignant. Her two co-stars are also very effective, but ultimately it is just the sight of this frail but indomitable old woman that will break your heart.
- 10/13/2003
- The Hollywood Reporter - Movie News
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