Film Critic / Cahiers du cinema
Malausa was born in 1976. Vincent Malausa is a critic for “Cahiers du cinema” since January 2001. He also collaborates with different magazines such as “Panic”, “Jeune Afrique” and “La Revue pour l’intelligence du monde”. For a span of 2 years, he’s been responsible of cinema departure in the monthly Chronicart. He published articles for two collective books: Jacques Rozier, “le funambule” (Editions de l’Etoile, 2001) and “Politique des zombies: L’Amerique selon George A. Romero” (Ellipses, 2007). In addition, he is the program coordinator for the Seoul Film Festival.
★4th Festival Recommended Movies★
Not only aesthetically powerful, the movie has a great mastery in musical narration form. The extreme precision of combination of matters, sounds, voices creates an hypnotic and singular theorem between lack and overflow of perception. Precious prototype of subjective and magic realism.
The figure of the dome which permits to go across time and history, with a very sophisticated system of fragmentation and repetition, creates a movement that takes the place of traditional cinematic. Beautiful proposition for an alternative mise en scene of History.
The most simple and efficient of the selection : art of capturing movements, gestures, dialogues and brief details which explain much more than traditional storytelling. Concision and sensitivity at their best.
Another visual and plastic poem with interesting idea of mise en scene, especially for a short movie : the different colors which are driving the editing (like Rimbaud’s Voyelles). Intensity of the rhythm, incantatory narration, opposition between magical matter and abrupt realism establish a strong and original way of filming.
Purity of the layout of this animation movie is really impressive. Sharp and cutting style, with calmness and self control in the direction : a quietly powerful short, between abstraction and precision of haiku.
More than its aesthetic qualities, the movie has a great force, which is its art of old-school storytelling. Bewitchment, captivation of nice ghosts, fairy and morbidity create a very interesting atmosphere of floating and indistinct dreams.
Art of centring, power of retention, duration of shots. The use of panoramic is impressive, and the movie has an interseting sense of narration, with equilibrium between tension and modesty in its childhood approach. An attentive and sensitive movie, sometime too much stiff.
With an uneasy story and really ugly concept, this movie succeeds in constructing a strange fairy narrative. The most interesting part is the night with lights, electric and totally knocked up poesy of urban modernity. But the system of the serie / train of gags is sometime too much artificial, especially in the long beginning.
The best quality of this modest short is its mysterious story and the naïve way of the narration. Charming, even if the mise en scene and the aesthetic are extremely academic. But the most important is this touching manner to trust and believe in fantastic and mystery like the childs of the movie.
Many “clichés” of the world author movie, abusive use of symbol and metaphoric way but some cinematic qualities, even if some really artificial style effects are too much.