few months ago I was spending a ticket the short film Dustland Leah Marciano. She invited me to see him at a screening and then gave me carte blanche to talk about in my blog Can not drive, regardless of what I had to say. I had not bothered to point defects film, and apparently it has not held against me because last week I was invited to the first official screening of his new short film, Paper Planes ( http://www.paper-planes . com / ). For the occasion, she had organized its producers a little party, but this post is not written to tell you that evening. I spend so details of the first part we had been concocted, a little also, I must admit, because I did not shoot much, between a singer emphasis French incredibly too pronounced when speaking in English and one actor who make us laugh but not bad rowing before they take a sympathetic sketch if not frankly funny. No, this post is dedicated film that Paper Planes , a short film to cool and ambitious synopsis: In 1988, Zoe, employed in a small cinema province, was killed during a robbery. Charlie, his colleague who has eyes only for her, will try to save it by defying the laws of space-time.
It more or less so that the film was sold to me, and I eternal fan of science fiction, such a pitch, I sink. But knowing that this is a short film of less than 30 minutes, the big question was whether the challenges of the film - make a period film (yes, a movie set in 1988 is a period film!), weaving a romantic frame, giving life to a plot of time travel - would be required.
ambition, miss Marciano lacks clearly not with Paper Planes . And the first issue, is how technically The film takes the road better than the previous one. Treated, the film is such a photograph full of warmth very successful. It's always good to take when venturing into the land of fantasy where a touch of surrealism is welcome.
Now, what is the frame of the movie, I'm a little more circumspect. The writer / director was a bit too complicated task in trying to deconstruct his story completely and burst out more muddled than convincing. I will risk a fine platitude pleonastic, but a short film is ... short. And in a brief format, it is about having a minimum of coherence and simplicity that Paper Planes sometimes struggles to offer. We shoot a lot about the bush in the movie, the scenes are connected and are similar expressly so much so that one wonders if Leah Marciano did not model for Groundhog Day Harold Ramis of, but without really meaning to, and without having time to do as well.
It's a shame because the pitch is really interesting, and treatment, as emphasized above, is proving successful in many respects. But the film is in a hurry, hurry, and too small for the bubbling screenplay that seems to go in all directions. This is not the deconstruction of the narrative that gene, but the fact that this deconstruction seems to lack control and fails to bounce back with a sense of narrative coherence. I also pass on the episode "one wallows in the grass kissing" of the film, which after the love scene in the hay Dustland seems a gimmick Miss Marciano referring to the heyday of Star Wars - Episode II: Attack of the Clones . I pass on it because In the same Paper Planes , the director has the good sense to conclude that the same dialogue punctuated The Empire Strikes Back cons, all hope is not lost for the reference "Lucassienne. Especially since this is not the only reference in the film, the inevitable Back to the Future by Robert Zemeckis necessarily coming to mind when one sees the bedraggled young Charlie, in his underwear with his braces or well view to Marty McFly. It may be that, you should remember to Paper Planes . A sign of love for a piece of cinema that I like a young filmmaker has chosen to salute in its own way, as flawed as it is.
The film leaves us even on a very positive note, the piano and the voice of Sebastian Tellier declaring his love for us "Love and Violence. No, Paper Planes is not yet an outright success, but progress is clear from Dustland . This certainly makes it curious to read, even if the choice of the director to shoot a subsequent adjustment (personal, I'm sure) of "The Little Prince" by Saint-Exupéry left fearful as such a project is broken- mouth. But after all, why not?
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