Maybe a bit too early of an international adaptation (done even before the original comic was translated to any western language), this film takes the tenacious challenge of trying to compress 10 volumes' worth of content into a feature film, let alone bringing the whole set of characters and their relation to Ikeda's particular vision of the history of France to audiences that weren't already in love with Oscar and André. The result is more of a chronology, barely connected…
This review may contain spoilers. I can handle the truth.
There was a thing that baffled me right from the very beginning of this, besides the most obvious things and the reaction they would certainly take out of many viewers, which is the element of green food. On the first instance, it was set up within the imagination of a kid within a story told by his grandfather, so it wasn't of much importance - I personally thought baby blue looked delicious when I was that age; but afterwards all…
All the elements of this film contribute to show a certain paradox: humanity inside the usually shown as mechanical, automatic complexities of organised crime or its pursuers; intimacy in the eyes of a digital camera that constantly displays cold colours through constant (yet not shaky) movement and zoom ups. Fire inside the ice, the heart inside the artifacts. What's the result?
A non-stop flow of electricity through its veins, an incredibly brutal depictment of what lies beneath what lies beneath Miami's shore.
It's incredible that this movie works without failing in one way or another, but it does.