Confession of confession of discord or how not to fall into the clutches of spiders Excuse me! Do you want to be admired?
- Vanya, do you copy? They want to admire me!
The Big Change, 1973, dir. A. Korenev
Lord, I should not have tempted you with my intellect. I should have known that in time you'd be moving on to a younger one.
Jesus! It had to happen sooner or later. I can't live like this.
Hannah and Her Sisters, 1986, dir. V. Allen
Confession. Confession, in general, is a common phenomenon. Even in our age. At the word Confession, the church in the vestment of the Temple appears mentally. A priest who put his eyes on the floor behind the partition in silent participation. Quiet until ringing in the ears. And words, words, words. In penance. In revelation. On the verge of crying. On the brink of pleading. Eh, eh, eh! Oh, oh, oh, oh! It's all from the heart. It was shot. Wounded. Groaning
However, "Vous ne d'sirez que moi" (2021) or "You only want me" is not about the church. There's a confession. But confession on tape. About love, about losing yourself, about romance. Tete-a-tete to lady correspondent Michelle Manso (Emmanuel Devo) pours out Jan (Swann Arlo). At home, sitting on the couch, frankly, believes history, everything is as before God "reports" to purity. The subject of his adoration for two years was a person, older by age as much as ... thirty-eight years. Oh, heh, heh. Wow! Ooh! 'Full compress'! What did you want? It's France! This is Europe! It's the heart of civilization! I'm totally relaxed. Emancipation, I can't believe it. . .
Is there a spider in front of us? How do I say that? Not at all. It's different. It made sense. And it began... six years threw letters, wrote, sent her, sent, and then. . .
An unusual movie is offered to the viewer. Ninety percent of screen time (or so) is devoted to conversation. She's listening. He's sharing his experiences. Distracted scenes are omitted, simplified. Shame? Because of causticity? Out of embarrassment? Probably not, but, and aesthetics of beauty in such exotics few would find. The focus of attention, however, would have shifted. And so, director Claire Simon, dissects a man with his own language - himself, himself, himself. Just yourself! From start to full win! Oh, come on.
Thinks and speaks, thinks and evaluates, recalls and gives a characteristic. The further we move along the plot, the more contradictory thoughts are strung in consciousness. This movie encourages you to talk to yourself. Characters at some point become just extras. Perhaps the main highlight of the picture is in this.
What else? They speak and speak from everywhere - tolerance, tolerance, generosity. Don't be homophobic! Cultivate your understanding! Right? Right? Yeah. And you, stay calm. Be kind to them. Everything is as it is! There's nothing you can do about it. Okay. Okay! But why then in the annotation to this film openly not to notify the viewer - gay, they say, out of nothing, unexpectedly completely - even for himself, got into the network of an elderly lady and struggles, and flicks, and enjoys, and is surprised, by the way, too, that in "this harbor" such metamorphosis with him. . .
You see, I'd be a side or a third way to run this movie. I had to watch it. Intrigue - just 'be healthy'!
And the conclusions? What about them? What do you want me to do with this movie? To tear off the stomach with laughter - gay in the clutches of a spider! Or to cry together with Jan - got him into the swamp swamp of the wrong "suit" to slip off, here's the thing!
Yes, I am tolerant, tolerant!
And more. Herman, as an option, considered becoming the lover of the old woman in exchange for the secret of three cards. But it was money at stake in exchange for payment. A favor, so to speak, for a favor! What's here? Thirty-eight years difference... the figure of the madam is that river coal barge... It's a dresser that's rickety! What are they thinking about in France? Covers, footsteps from fate - to laugh and smile.
5 out of 10