It is a slow film but I really like the films of this director and this is again no exception as we follow a troubled young man in search of his father and direction and how he dislikes that man so tremendously that he plans to kill him off. Ends in poetic justice.
This moving story of fatherhood and familyhood works on many levels. It can be seen as a simple family story but it is also filled with historical allusions, biblical references and classical art imagery that take the simple story to a much broader, almost-universal cultural scale. Green’s signature imagery, minimalist dialogues, unique scenography and excellent music make the film a treat for the director’s fans.
Je l'ai trouvé tout simplement plein de douceur, de pureté et de bons sentiments; j'en avais vraiment besoin maintenant — juste à cause de la fin déjà écrite. En plus, excellent choix d'auteurs, d'images et de musique pour référence. Une super-belle découverte! Merci Mubi.
Anacronistica rivisitazione biblica della Sacra Famiglia, collocata nella Parigi contemporanea e interpretata con lo stile ieratico tipico di Eugéne Green. Interessante la riflessione sul ruolo del Padre, da intendersi non come genitore naturale, bensì come guida spirituale accolta dal Figlio. Fotografia e scenografia notabili. Nonostante l'indiscussa originalità, pesa sulla pellicola la lentezza della sceneggiatura.
En un punto de la trama la combinación de acontecimientos es tan forzada que pierde credibilidad. Además, la historia se tambalea entre el drama profundo y el humor involuntario. Y sin embargo, el gusto del director por las imágenes y la música bellas hacen disfrutable el conjunto.
Another Green film of mixed merits. This time though the first part's languid tempo in conjunction with an uninteresting mise-en-scène is being rectified in the second part marked by the appearance of Rongione's charismatically self-assured tranquility. He lifts up the entire film which improves immensely pictorially (the sublime Exodus at the sea) and in terms of script with the wise words on 'Red Desert'. Soothing.
I personally like Green's style. The characters have something fragile and human about them, but what I like the most is the dialogue. The conversations are, as in his other movies I've seen, direct and bare of all banality. They speak the essential, asking incisive questions and not hiding how they feel - unless they don't feel like saying, which is in itself not hidden. Something I'd like to see more in real life.
Possessing a whimsically earnest charm, this modern parable on fatherhood generously rewards viewers who pay attention to the unexpected details woven into its seemingly simple structure. Its intelligent infusion of music, art, literature, and style gives the Nativity story a contemporary take that gently builds up to a heartfelt resolution for the characters and the issues they represent.
With a formalist style and declamatory dialogue that makes Hal Hartley films seem over-emotional, Son of Joseph takes some getting used to. But the script and Bresson-ian acting is excellent (great to see de Madeiros again in a particularly kooky role), there is a calm, balanced tone and humanism that is lacking in Green's more expressive French contemporaries, enhanced further by its old school 35mm cinematography.
Such a fascinating, unique, and new style and view of famous Nativity. The start was a little slow and some parts were a little dry but overall pretty compelling and engaging. The cast did very well in playing and portraying their roles. This is a hard story to modernize and play out but I thought it was done pretty well. Very interesting themes and symbols throughout that really enhance the plot. Overall good movie.
Delightful, enchanting, spellbinding. Love how Joseph steers Vincent's theory of the Sacrifice of Isaac from a harsh story to a loving story about listening to the good in oneself. Love Joseph's theory of the world as a hospital, with all of us playing doctors, nurses, and patients as our lives interweave with each other. Beautiful to see Vincent's emotional state change as he creates his "perfect" family.
Already a huge fan of Eugène Green, especially THE PORTUGUESE NUN and LA SAPIENZA, I was nonetheless taken aback by the excellence of THE SON OF JOSEPH, a film engaged in something like free play within the allegorical register. We know of the flat Bressonian affect of Green's actors and his clinical form. The emotional impact of this film is transcendent precisely because it overwhelms the strictures of a method.