There are films that carry a kind of eternal magic and Conann is one of them. A multiverse of the transcendental mind, an experience at all levels, philosophical, psychological, sensory, narrative, corporeal and once again, Conann is one of them.
And yet it is so hermetic for those who will not dare to be sensitive to such a work, the mind must be able to cross its own gendered limits. Cinema trance-genre and non-binary, like the wild boys, the cinema of Bertrand Mandico is unique, fascinating, missed sometimes, I think of after blue for example who for me misses a part of his subject with a game and scenario too wobbly that lacks finishing.
Conann is his opposite for me, he knows perfectly where he is going, to the point where he assumes himself in the sublimation of his style and his messages. Here we probe the soul of the warrior woman, the barbarian Connan, who constantly transcends herself in each of her lives, every time she murders herself. Because of its small character theatre of which Rainer is the keystone (the animal part, the dog) this barbaric cruelty shows us that horror is at the center of life, as beauty, indeed, the sublime cannot exist otherwise.
We navigate here in the subconscious of a woman, who surrenders to her transcendence. She'll be as ruthless as any man, gender doesn't change anything when you accept yourself. A film to live urgently if you are not afraid to travel in a new genre, explored notably by Panos Cosmatos on another scale more meta-societal than gendered, yet both belong to this new fascinating phase of modern cinema.
From afar, it will really not please everyone, I almost enjoy imagining almost the head of the average spectator in front of such a show. But it is a fascinating foot for who will take his measure and dare to dive into the film without restraint, without fear and without preconceived opinion while trying to understand what he says about this part of ourselves.
You liked wild boys, Connan will delight you.
