In my opinion, the best movie of 1999.
Definitively, underlining the existence of a master-piece called "Mouchette" is a must. Though Dardene brothers are not changing the cinematographic language as Bresson did, their movie almost attains in a few moments both the beauty and the intensity of Bresson's master-piece. Only a true artist can repeat the suicide of Mouchette succesfully (and, without any doubt, the moving final sequence belongs to the history of cinema with all merits). I'd like to point out also the magnificent use of music in this film (you could hardly find two movies a year in which the music is not a nuisance nowadays, some directors should limit themselves to the music that comes from the scene itself -a radio, a piano...- ): it appears only once, and is a messy, distortioned home recording of drums, which serves the co-starring as an excuse to dance with Rosetta. To those who are looking for a contrast in the movie, it's precisely this boy and specially this scene the ones that offer a way out.
Do the people that need to know why Rosetta is like that also want to know why the birds attack the humans in Hitchcocks classic?
Is it possible to construct such a character without showing, by repetition of sequences, the redundance of Rosettas' life? Is it possible such a beauty in the final sequence without the proper patient use of time?
Definitively, underlining the existence of a master-piece called "Mouchette" is a must. Though Dardene brothers are not changing the cinematographic language as Bresson did, their movie almost attains in a few moments both the beauty and the intensity of Bresson's master-piece. Only a true artist can repeat the suicide of Mouchette succesfully (and, without any doubt, the moving final sequence belongs to the history of cinema with all merits). I'd like to point out also the magnificent use of music in this film (you could hardly find two movies a year in which the music is not a nuisance nowadays, some directors should limit themselves to the music that comes from the scene itself -a radio, a piano...- ): it appears only once, and is a messy, distortioned home recording of drums, which serves the co-starring as an excuse to dance with Rosetta. To those who are looking for a contrast in the movie, it's precisely this boy and specially this scene the ones that offer a way out.
Do the people that need to know why Rosetta is like that also want to know why the birds attack the humans in Hitchcocks classic?
Is it possible to construct such a character without showing, by repetition of sequences, the redundance of Rosettas' life? Is it possible such a beauty in the final sequence without the proper patient use of time?