Grand Jeté – Isabelle Sever Get Whole Detail

Grand Jeté – Isabelle Sever
– #Grand #Jeté #Isabelle #Sever

A great actor It’s a beautiful movie to watch, but its visual design is unfortunately in service of the script and it’s not terribly deep.

Director Isabelle Stever’s A great actor is a German family drama that seeks to evoke, something easier to imagine than its depiction of a toxic relationship and the relationship between a mother and her son. But those looking for cheap thrills or light shock value would be wise to look elsewhere, as Stever has created an artistic study that often resembles two Isabelle Huppert cars in particular, namely Michael Haneke’s. Piano teacher and Christophe Honore’s My mother. Nadja (Sarah Gerther) is a tough ballet teacher who pushes her body to the limit. Relying on prescription drugs and refusing to use the cane on her muscular and articular structures for the punishment she so desperately needs, Nadja seems to thrive on the pain she forces herself to endure. A random visit to her mother’s place in a neighboring town introduces the viewer to Mario (Emil von Schonfels), the son Nadja neglected as a child and has been cared for by her mother since childhood. Now 18 years old, Mario is a strapping teenager who spends his nights in clubs and participates in various fraudulent activities. It is clear that in the interaction Nadja has not seen her son for almost twenty years, although they both make up for lost time by almost immediately starting a sexual affair, one of which Nadja experiences pleasure when the first in years, because, as clearly defined, she is nothing if not a masochist, a trait shared by her son.

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A great actor it is not a psychological examination of the characters and their actions so much as an observational study; There are no answers available about it why All in all, though Nadja’s broken relationship with her mother certainly points to a number of underlying issues. Stiver and cinematographer Constantin Campean have chosen a visual style that can best be described as ethereal, the hand-held camera becomes an omnipresent observer that seems to float above and dance with these characters, occasionally stopping when it becomes fixed and detailed or a certain act, whether it’s the movement of bare shoulders or the carefully decorated bun on top of a young dancer. Depth of focus is rarely used, focusing on one object in each shot, often making the background and foreground appear to be a dull sun and more darkness than it illuminates, which and definitely a perfect visual example of the way it was taken. material. Indeed, the pictures taken inside A great actor It doesn’t change a bit, and it’s often beautiful to see.

Unfortunately, the film as a whole is too one-note, its characters unremarkable and unsympathetic. Everyone here is only motivated by their own short-sighted desires, using each other for their own purposes, which may appear to accurately reflect the modern state of humanity, but never here. It didn’t happen by accident. Stiver and screenwriter Anna Melikova also never met a monologue they couldn’t beat to death, with Mario at one point driving his mother with a cane she refused to use – no need to bring that one up. Gerther and von Schonfels are fully committed to their roles, giving exactly what the material demands, and while there’s a certain amount of bravado towards what they’re asked to do here, they’re never overdone. call to pay more in the deep process, making it difficult to care about the result. Therefore, A great actor Lands exemplify the type of film that one can easily admire without ever really enjoying it, the visual design and interesting cinematography prove an intoxicating element that almost, but not quite, distracts from the sheer laziness of the film. illegal substances. That all of this is clearly a design makes for a frustrating viewing experience.

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