Both the original French (“La Prisonière de Bordeaux”) and in its English translation (“The hours of the visit”), the title of the latest Patricia Mazwe player is presented with a little wrong guidance. This is not really a prison drama. Instead, its concentration focuses on two women who share a few of the subscribers, but the fact that their husbands are imprisoned in the same facility. Their post -afternoon meeting will make the path of an unbearable dynamism that becomes more thorny as two different worlds collide. But the ultimately cold Milodramrama is up to its title. In essence, this narrow study revolves in both the relationships between the layer and the race around the walls that we create around each other – and the cost of allowing others to enter prisons of our manufacture.
The first thing to note about the “hours of visit” is that the facility in which the pain (Isabelle Hubert) faces the first confrontation of the Herzi barefoot like any such institution in the United States, the space may have led to the condemnation of criminals at home, but there is a feeling of dignity. Wives and astronomers leave their luggage in luxurious tanks decorated with fruit stickers, while each of their visits is behind the colored doors. This means, when Mina finds herself making a scene there because she was mixing her dates, the entire ordeal feels that she might occur in a hospital or a retirement house. There is an angry reception employee and many indifferent passers -by, but even with the escalation of the confrontation enamel, guards and guarding barely set.
The pain only ends with the move to the fiery Mina. When you see her later at a bus station, she gave her a trip. After that, as you know, Mina is scheduled to return to prison the next day (and take another three -hour trip for that), she invites her to stay in her luxurious home. Mina, who is concerned about her young children who are mathematics about her long, hard movement, accepts a caution in a generous pain.
It is right to be careful. As for Alma, she feels tense and excited about the presence of a company in her country house called art (as a way of courtesy of her famous wounds to the husband), and she goes out in her bridge in Mina’s life. They have never exchanged greater compliments and life stories that you find a job and ask her to move. It is not a great friendship, although they act on how they also feel imprisonment, somehow, in the conditions of their husbands. There may be attractive physical contact, if not completely burdened, which can help but look like a kind of treatment. Nevertheless, their differences become very stark, especially when they become clear that they escape from the ghosts from their past.
The delicate dance of women is high and is wonderfully embodied by two shows that feel weak, not at risk, with a suggestion that there are more things that we were not familiar with. HUPPER is that rare actress whose warmth can feel seductive and dangerous at the same time. The frankness that she revives with Mena as a call, but like a trap. The intensity of HUPPER carries in her look and in her gait (pain, we learn, a previous dancer) is graceful; But on its edges, there is a hard -line and raised thing. What is the exit from this entire ordeal, in any case? Is this really a kind of non -selfish action, and a sense of white guilt allows her to believe that she owes her home and interest?
Herzi, in the meantime, plays Mina like a complex empty fabric. The character only reveals its expressions: it is a defensive mechanism that he served well in service functions, and as a common scatter (although she is not subject to) in the process of robbery that her husband fell in prison. This abandoned job is still threatening her livelihood, as her husband’s violent partner follows her. With Mina pushing the edge, she will have to choose between her family and a pain that creates an inevitable and surprising development on an equal footing.
The final confrontation “hours of visit”, which is totally cheerful. The fragrant balance founded by Hubert and Herzi suddenly turned. But instead of the goal of the end of Pat, which would draw one or another accuracy as a wicked, Mazoy’s scenario – written alongside Pierre Corrig and François Begodo with Emily Delly’s cooperation – reaches something more complicated, which leads to strengthening the bond with no sustainable method that their relationship could not
“The hours of the visit” is a film where the lush lush (beautifully captured by the intimate Cameron Beaufils) and romantic swelling (with the permission of Amin Bohava sometimes the great result is great). With a beautiful maze conspiracy, the story of Alma and Mina is a modern myth for good Samaritans and distinctive maintenance persons. In the hands of two actors who work on the physical wonders that link their characters together, this is a kind of French fabrication that holds you along the way through the winning final shots.