Review: The Hunt (2019)
The lack of dialogue is substituted by sound design and the music in the style of the 90s pulsating electronica, while the editing handled by Zoltan Horvath is spot on.
The lack of dialogue is substituted by sound design and the music in the style of the 90s pulsating electronica, while the editing handled by Zoltan Horvath is spot on.
The titular region in Russia, dividing Europe and Asia, is special for our narrator, since she considers a Soviet military settlement in South Ural to be her childhood home.
Reitz’ thoughts are delivered by fast-paced narration accompanied by the illustrations by the means of equally quick simple 2D animation and the striking, pulsating electronic score in the background.
Plume (Lorette Sauvet) is a circus artist, performing on trapeze and she is auditioning for a place in the biggest circus company in Paris.
As the writer, director and editor of the film, Lyons quite successfully channels the energy and the atmosphere of a British midnight flick, playing with strangeness and terror by pitting an individual against an angry lynch mob.
Labouri’s Yandere is a proper exercise in elegance in blending the different film techniques and approaches, with nods to Japanese and French animation and retro-futurism as a concept.
Kasia Babicz, working on her own script in this Warsaw Film School production, does her best to show rather then tell what is going on. Already scarce dialogue in the prologue completely disappears from the picture once the couple moves in together
What starts as a high-concept comedy quickly turns into a satire about the influence of the technology on basic human relationships and then to a retro-styled slasher in Carlyn Hudson’s frantic short Waffle.
Marie, played by Joséphine Japy with well-calibrated fragility, wants to be a chef and is proud to be the newest employee at the restaurant owned by Bruno Mercier (Phillippe Résimont), a famous Michelin-star chef
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