Schanelec's funniest film so far. But also tender, mysterious, polemical, hopeful.
Bresson comes to mind of course in the formal approach; Schanelec has always cited him as an influence, and now that for the first time she uses montage and shorter sequences it's even more obvious. What hit me the hardest, though, was that, story-wise, it's like a devastating variation on Rohmer's A Winter's Tale - that ending particularly. Best film of the year, easily.
All you need for a movie is a gun and a girl, as Godard is commonly misquoted. I for one would have been content with Freya Mavor's freckles and those big glasses. But okay, the car is cool too. The gun however complicates things so much that Joann Sfar spends ten minutes near the end to explain and recap the plot in a manner that pretty much ruins the film. A pity, because otherwise I really enjoyed this.
Joanna Coates' debut feature is a rare and fragile thing. Rare, because its exploration of a polyamorous utopia, while sexually frank, also retains an air of playful innocence. Fragile, because it understands its gentle pursuit of happiness as a work in progress that may seem silly to the outsider, yet defiantly refuses to put up any defences or justifications.
It seems unlikely that Coates is aware of the work of German filmmaker Rudolf Thome, but within the first moments of…