Lumière d’été shows the rhythm of Grémillon’s shots, the graceful way they build on one another. Michèle approaches the hotel from the winding access road, shot from below; later, when the roaring drunk Roland rides a motorcycle to the hotel, it’s shot from a long distance above, until he arrives in the courtyard and falls flat on his face. Again and again, we’re shown things climbing, like the cable car that connects to the dam, and things falling, like a shower of rocks from an explosion.
Farran Smith Nehme
September 11, 2012