Charlot47
Joined Nov 2009
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Charlot47's rating
Behind the opening titles we see the Arnolfini couple by van Eyck looking out at us, he a dry businessman while she is sweeter and heavily pregnant. In the mirror behind them we see four people, the two Arnolfinis from behind and beyond them two other people looking out at us. A game of light and perspective, of mystery and illusion, of appearance and reality, of symbols and split personalities, which will continue until the end credits.
We meet a contemporary couple in Belgium, he a somewhat insensitive businessman and she a pregnant picture restorer from a humble background. Her life is not going well and her widowed mother is no help (we are given hints of fixation on the father and of a primal scene). In fact, to the mystification of her husband and to her own increasing dismay, she is going to pieces: her only road to salvation will be to explain, and so exorcise, at least some of the demons that are assailing her.
We meet a contemporary couple in Belgium, he a somewhat insensitive businessman and she a pregnant picture restorer from a humble background. Her life is not going well and her widowed mother is no help (we are given hints of fixation on the father and of a primal scene). In fact, to the mystification of her husband and to her own increasing dismay, she is going to pieces: her only road to salvation will be to explain, and so exorcise, at least some of the demons that are assailing her.
