Milla ★★★★★

The ephemera of the everyday is all that is necessary for spectacle itself, and through that understanding we travel through the trajectory of the film itself, which heaps can be written on. A masterpiece, maybe the only one of 2017 - pure cinema to the point where I wanted to scream. A cultural embarrassment that it wasn't programmed in New York or Toronto, one which only demonstrates the increasing irrelevance such failing North American institutions have within the context of world cinema. Are such institutions necessary these days? No, but it's just as depressing that this film asks to be seen on a theatre screen - Massadian is a director who understands scale and perspective - and its just remarkable that her understanding of image perspective is not one that is necessarily playful but one which she pushes to the foreground of mode of viewing and capturing the world.

This viewing seems equal parts subjective and objective, turning these nine months or so of Milla's life into a full lifetime. Massadian calls back to early cinema - a total fundamentality within the gestural: so for example we never 'hear' of Milla's pregnancy, it just happens: a body enters a frame, and it is larger than before, and there is life inside of it.

Also, this is a film about people who are poor - but the film never underlines it or emphasises it - it's just there, and either you see it or you don't....

More articulate thoughts later, as with the best of them, there is lots to cover...

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