Aaron Rookus’s “De Idylle” (Idyllic) is a vibrant, teasing work, by turns melancholic and affirming. Deep emotional scars serrate the characters. Each is battling their own burdened history, much of which is buried in expectations imposed by others, internalized, about the turn their lives can take, and what choices they have. There’s so much regret and guilt about a life led to waste, anguish, and self-deception. It’s the hopeful prayer for second chances at rearranging one’s trajectory that underpins the narrative strands.
This is very much an ensemble drama, Rookus vaulting among various members of a family. The telling resists isolated chunks of perspective; everything is woven together, one reflecting off the other. Projections and echoes shatter the uniformity of an unadventurous life, especially one navigated with balking and caution. This shuts out an entire world of radical, new possibilities.
Two of the film’s central characters,...
This is very much an ensemble drama, Rookus vaulting among various members of a family. The telling resists isolated chunks of perspective; everything is woven together, one reflecting off the other. Projections and echoes shatter the uniformity of an unadventurous life, especially one navigated with balking and caution. This shuts out an entire world of radical, new possibilities.
Two of the film’s central characters,...
- 2/9/2025
- by Debanjan Dhar
- High on Films
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