CANNES (Hollywood Reporter) - "Declaration of war", the function of Gauls sophomore writer-director-actress Valerie Donzelli, which opened the Cannes critics week, is a commitment, but not quite convincing representation of a battle that began when his minor son of filmmaker was diagnosed with brain cancer.
Filled with Nouvelle Vague atmosphere, punctuated by musical montages and sudden gusts of feeling, "War" was right weapons to conquer arthouse audiences both at home and abroad, giving the young French author more international visibility.
Based on of Donzelli and writer-star and ex-boyfriend of the Jeremie Elkaim life real test, the story is autobiographical, through, in him giving a scale which would have been more difficult to nail down in a purely fictitious tale. Reality factor also allows the duo to engage in many flights of fancy, sprinkling their story of everything: a Magnolia-style sing-a-long a romance quickly edited directly "Jules and Jim."
Yet, by engaging in a range of styles, which were already amply exposed small budget of the 'The Queen of heart' Director debut - and in relying on a great soundtrack to film hits which includes everything from J.S. Bach to Laurie Anderson "Superman" the drama is broadcast by some attempts of too numerous to be cinematically spontaneous and perhaps even too revealing cute at certain intervals.
Despite these snags, there are still several times tearing in the tale of young lovebirds (Donzelli) Juliet and Romeo (Elkaim), including electrical during a party meeting is soon followed by the birth of their son, Adam (Cesar Desseix), an adorable toddler little begins to show signs of alarming disease. After a few more in most disturbing of doctor visits - and Donzelli is at its best by revealing aspects tragicomic France labyrinthine hospital system - a tumour is detected in the brain of Adam, initiating a long period of fear, confusion and anticipation that no parent would want on their worst enemy.
Jump (and sometimes jump-cut) chronologically to the period of four years in which Adam was submitted to major surgery followed by chemotherapy treatment, Donzelli focuses less on procedures medical raw on the way in which parents face, or cannot cope with the affliction. In this sense, war is not in contrast to the recent "rabbit hole", except that here there is still hope that the child will survive, although such hope is so exhausting to maintain that he eats away relationship Juliet and Romeo.
Ultimately, it is regrettable that Donzelli and Elkaim, appearing in a total of five films in various sections of the Cannes this year are no more on their chops acting to support the weight of what was clearly a traumatic experience for each of them. This is particularly frustrating in coils, the latter film, as important aspects of the plot are hidden via voiceover or constant use of music.
Technical achievements are the worlds above Donzelli freshman effort, with colourful imagery crisp by Sebastien Buchmann ("Memory Lane") which makes it a pleasure to battle to look at.
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