Film Heir Biography

To reveal the world to the world, a large-scale advertising campaign is being prepared and each movement of the model is verified before showing a debut collection. It would seem that what Elias achieved all his life finally gains flesh. The sudden news of the death of his father, with whom the fashion designer did not communicate for many years, forces Elias to go to Montreal to resolve issues of inheritance.

The overture to all the plot fractures is a model show with a minted rhythmic installation and sterile geometry of the bodies inside the frame. But it is worth the figures to leave the podium, how the spiral of their intra -pass movement turns into a dashingly twisted family drama of the fathers and children. The topics of insults, unspeakable words and indiscriminate letters set the tonality of bitterness and alienation.

The pathetics of the sons of loss is blurred by tragicomic sketches: as the volunteer of the Foundation for refugees who received the things of the deceased notes: "Your grief is our joy." The main character enters the house of his father, where much more diverse meetings await him than he could have imagined. The strokes of material memory are scattered across the rooms and tables, collecting the image of the father in the mind of Elias, who died for him long before the physical end.

Visual spirals - from fashionable display to multiple stairs in houses - enter into dialogue with the main conflict of thriller. The funnel of overlapping events is twisted with an intensity equal to the aggravated penetrations of Elias into his own consciousness and the structure of the unconscious. The hero is afraid that he inherited from his father the features of health, heart problems or a predisposition to stroke.

The hypochondria of the thirty -year -old Pijon becomes the only basis of interest in the past of the father: to find out in order to avoid.

Do everything so as not to be "like a father." The fashion designer Elias Barnes works with the bodies, clothing them with all the sophistication of his subtle taste. His artistic look nourished the works of Matisse and Velazquez that others are constantly noted. There are no direct colors for Elias, just as there are no direct statements: “This is not yellow. This is canary. " The hero becomes the focus of multiple affects that reach the climax, but at the same time do not receive discharge.

Elias is laconic, but extremely emotional. Acting game Mark Andre Gronden deserves special attention. Expressive non -verbal monologues of the protagonist are similar to Lamento opera arias: a song of tears of a man described with fear can cause empathy without a shadow of irony. In the matter of the film, Xavier Legran, there is no place for chopped and unambiguous estimates: it remains to be told about shown, but not spelled out only in the language of semi -trees, half -tones and shades of canary.