Winter holidays It was only then that “The Labyrinth of the Faun” and “Eaters” by Juan Fresnadillo came out. But, in comparison, especially with the films of 1998, the film Claude Miller is quite competitive. The soft, ornate French language seems to extend to the style of the film, softening numerous sharp moments. Like a sweet and out of place interrupted conversation about the weather, the film tells absolutely nothing, except the experiences of a little more nervous than the peers of the boy. Once in a country camp on vacation, he experiences strange nightmares that are echoes of subconscious tension. Among the many ridiculous fantasies, it is not difficult to single out an obsessive desire disguised as fear of the death of one’s own father. It would seem no more than a banal Oedipus complex. But everything turns out to be much more complicated, turning into a Hitchcock denouement.
Claude Miller’s soft, courteous, elegant and extremely polite style causes conflicting impressions. At first, it seems pretentious, but as we get closer to the denouement, it becomes clear that the director does not aim to hit the viewer with a hammer on the head by revealing “terrible family secrets”. Claude Miller is gentle and gentle, careful and tactful, in the best sense of the word. His film combines elements of both a fascinating thriller and academic philosophical opus and psychological drama. The more valuable the effect.
9 out of 10