TOMORROW
Maxime Giroux Released
2009 in the journal Sequences
Micro manifest extreme banality
Sophie, So the streets are long, and finally Tomorrow. The first feature film project Maxime Giroux, one of short films Quebec's most visible internationally, has passed through several titles and identities (the original cast was very different from that found on the screen) before taking its final shape. Unrealistic expectations have preceded a very discreet and finally output a recognition almost nonexistent abroad. What explains this reversal?
notorious refusal to deal with Maxime Giroux tastes of today's commercial cinema is consistent with this aspiration generational animating his contemporaries Denis Côté, Rafael Ouellet, Stephane Lafleur and Yves-Christian Fournier, cosmetic treatment yet excavated, refined and adopted en masse abroad since the early films of the Dardenne brothers ... there are now fifteen years, proving again the shift of the Quebec film industry with trends International (pointed or not).
Tomorrow Yet more than a simple extension of the current hyper-realism by its desire to avoid any waiting dramatic, the film can be seen as the culmination of this film intentionally non-commercial limited to this , narrative arcs completely released, and whose concern is limited to the construction of scenes at the expense of their actual content.
Tomorrow reveals still more talent. He first Eugenie Beaudry, who plays with lots of natural main character, a young woman eking out a living from his diabetic father and a new lover sometimes placid, sometimes temperamental. The film rests entirely on his shoulders and his amazing lack of expression, despite a lifetime without relief, or to private ambition. Yet we cling readily to his wanderings, his inability to lead anything, his empty secret if only by his inability to look behind her.
The other obvious talent is the director of photography Sara Mishara camerawoman become the benchmark of social realism, of the ordinary style. Accomplice and creative in its own right alongside the young wolves Lafleur and Fournier - his gaze was recently commandeered by Bernard Emond on his next film The Last Things , its contribution tends to be drawn up by this whole scene so that stripped 'they graze constantly absolute disembodiment.
However, do not be fooled by aridity of the process, even if he seems to consider this path as an imperturbable cross vow of simplicity, Maxime Giroux remains by far the main interest of his own movie. No comparison with his younger contemporaries hold water: Giroux, even injure himself in a class by itself, even if his trial could jeopardize the future of things. Whether you agree or disagree with his vision of what should be a story in film, the filmmaker shows an undeniable know-how and, ironically in this case, a real attachment to his characters, a gap contagious among its green peers, more worn on formal and narrative audacity.
However, although the type of film that Giroux practice usually requires a certain level of emotional display, one of many banned Tomorrow is precisely the absence of emotional causality among the characters, which seem all suffering from a lack of perspective on their interpersonal behaviors. Giroux and his co-screenwriter Alexandre Laferrière - who signed most of the director's short - opted instead for dramatic gaps, thereby leaving the plane in the viewer, who is forced to seal the interior of the Abyss characters film.
Such a calendar can only view quickly its limits and the inevitable predictability of its conclusion here, Sophie ends up imposing its implosion in lax Jerome. No redemption or rehabilitation is possible, opening to the family or love can only lead to disintegration. One would think that would emulate her heroine Giroux on these holy martyrs morbidly fond Lars von Trier; if Sophie is never really a victim of the plight of men, she wallows in deeper and deeper into a compulsive idleness, even to become completely invisible.
The premise, at first sight disconcerting, however, adds a curious balance between the ideological hesitation (or nihilism Jansenism?) And maturity formal. The proposal is not without promise, but also unique as it is, that experimentation is Tomorrow can only lead to a cul-de-sac anyway.
© 2009 Charles-Stéphane Roy
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