Running as an illusion of freedom Switzerland from a bird's eye view: flat green squares of fields, mountains in white "rabbit" caps and, finally, the road, or rather roads; they curl, bend, intersect, anticipating the difficult path of the heroes of the film.
Traffic everywhere, traffic everywhere: trains, cars go nowhere, people are in a hurry for unknown reasons, planes are moving towards their death, but no one is able to interrupt this run - and Jeanne, being unable to restrain the impulse, succumbing to the general tendency, breaks out of the tight cubic structure of urban dwellings at will.
Marie is a more intimate, introverted specimen—she won’t reveal her secret about what’s keeping her from returning to her native land, but the fact remains that she too is running. The space-time coordinates of their life lines will converge at some point A, in the back seat of a passing car, stopped by raising a hand on the highway.
Shortly cut Jeanne in large round glasses, dressed in a long striped cardigan is maximally expressive, and her companion, on the contrary, thanks to her inconspicuous appearance, is ready to merge with the background. Yin and yang, urban and village, student and saleswoman of “needles, cheese and lawn mowers”, Talia and Clio, jokingly called Jeanne, their differences soon become insignificant, forming a single and indivisible gestalt.
What are "sisters by the will of fate" and what do they find? Is it enough to get rid of the banal phrase about adventures on the posterior bulge of the body? A lot has fallen to their lot, as you would expect, but adventurers from birth are not those who give up. They do not intend to listen all the way to some old goat splashing saliva and criticizing modern youth, just because he agreed to give them a ride.
Their personal ethical qualifications do not coincide with those of the majority. In their opinion, they "only stole the sausage," and the rest of the misdeeds can hardly be considered bad. But society has fiercely turned against the fugitives, setting traps at every step - as if there was no one else to catch, and there are no more serious criminals.
Feeling a natural alienation from people, the girls find the only way to freedom - moving in space along an arbitrary trajectory. However, it is not possible to achieve complete isolation from society, and Marie’s cry: “I want to eat, bitch” sounds like a manifesto announcing the collapse of plans.
Their life position is not catchy, but it is also impossible to take the side of their offenders - so the director achieves the intended effect of emotional disengagement of the viewer. The boring course of the film is almost intriguing, it does not even matter whether the pistol stolen by the girls, which appeared at the beginning, will shoot or not, according to the canons of Chekhov’s drama.
The film tells about the realization of isolation as a universal law at an age and state when there are no anchors to pull to reality. My personal bottom line is saving credits, allowing me to interrupt two hours of thinking about existential problems.
7 out of 10