It was identified during the May 1968 revolution in Paris, which is the “Safe House” of Lionel Baier is a comic image full of ideas that do not deal with it completely. The film is based on Christophe Boltski’s novel of the environment that has the same mouth with the same name, which is a fact that we mention several times through the author’s audio comment. Ultimately, ultimately, ultimately, ultimately, ultimately, ultimately, ultimately, ultimately do not eventually give way to the end, in the end, do not eventually give way to the end, but the number Political or personal elements do not eventually give way, as the history of the family fades, but a few political or personal elements are like anything influential.
Although the Boltanski family works as a script fuel, “The Safe House” is unknown and solve some details of the story, while maintaining the extensive hypothesis as it is: an epic that is revealed in the margins of one of the most modern protests in France. It was said, at least at the beginning, through the eyes of a nine -year -old boy (Ethan Shemint), meaning Polsinsky himself. However, despite this narrative peak – that may have excused some distorted reflections as interpretations of the child – the film often avoids the character’s point of view, and even performing the firework games, in favor of telling more wealth, with a little meaning of the broader family dynamics.
While the narrator “The Safe House” discusses from the top down down, we got acquainted with the adventures of the boy – the younger (Aurélien Gabrielli), an optical artist, the elderly (William Libgul), and an academic – as well as his grandparents (Michelle Blanc, Dominic Remound), Jeddah, Jeddah, Jeddah, Jeddah, and Jeddah His great grandmother (Lillian Rover) , An immigrant from Odessa. Although the Jewish background of the family becomes a major axis in the second half, it only appears during the preliminary scenes, in the form of mysterious hints and fees given by the troubled neighbors.
Jacques Tati-STYLE Energy, Jacques Tati, provides in these preliminary scenes, enough of the foothold foot, before the broader policy in the background of my father’s young boy (Adrien Barazzone, Larisa Faber) away from local preparation. Unfortunately, they are not manufactured, no different from the narrow house that the family shares. The voice is playing its importance as a material place, but the camera rarely captures it with a sense of space, dynamism or details.
The feeling of contentment in which he appears in 68, far in the background, speaks to a movie that has no political importance of little importance, or at least reflects politics through a ironic failure. But “The Safe House”, in fact, determines the standards of strong drama on events, albeit without focusing on its details. Instead, the history of the family is repeated as elders in light of the Nazi occupation at the beginning through post -traumatic disorder, the apparently apparent (an element that appears suddenly as it fades) and through the memories of the past that attract the fake similarities between the two periods. All that seems to link them is the movement of history – the idea that “something” happens, although any time period is not depicted with a feeling of greater history, or even intimate personal importance.
While the film is revealed when removed from its characters, Bayer evokes at least the souls of the past through some of its performance. Plan, in his final role on the screen, moves particularly. However, the family story is rarely based on this painful date. The moments when he feels in 1968 are more than a nominal bound by the 1940s, and even the imaginary appearance of the main world of World War, cannot be verified by these links.
There is harm to how to present the movie, and a simple occasion of how it continues. However, these two half are truly committed by Diego in Dinaij, Nura Baldinouij and Lionel Baldiig, where the familiar voices in the tone were shifted. Visually, objective, “The Safe House” cannot be promoted to the level of its hints from the novel of the completed voice stories, and often exceeds the patterns of expression, unable to capture the weight of the experiment completely, and the burden of personal and cultural memory.