The famous Austrian actress Maria Schell distinguished herself throughout her remarkable career for her highly emotional acting, with which she often lent her face to women who were both vulnerable and strong-willed at the same time. So much so that she was nicknamed by her colleague Oskar Werner Seelchen – little soul.
The mise-en-scene adopted in With God’s Grace does not aim at an excessively marked or elaborate aesthetic, but – in a long journey from Gambia to Italy, arriving, even if only virtually, in Düsseldorf – substantially focuses on the essential, for a successful example of cinema of reality which, through the story of a single character, tells us, in fact, the story of thousands and thousands of people.
This tender little Lonely Together is very reminiscent of the films of the French New Wave. Similarly, the apparently superficial dialogues slowly acquire a complex depth that, combined with a meticulous introspective analysis of the characters, sees the staging of a dramatic moment told in a light, graceful way, with even welcome comic expedients.
With an extremely essential mise-en-scène, Thomas Marschall has perfectly succeeded in giving his Ordinary Creatures a surreal and highly alienating character, thanks to figures that are now inexplicably mute and so inexpressive as to seem almost unfriendly, up to scenes with a strong dreamlike atmosphere.
Halfway between the cinema of Catherine Breillat and that of Arnaud Desplechin, Lovecut feels very much the influence of French cinema but, at the same time, creates an entirely intimate and personal dimension in which, in a successful choral structure, there is a deep and never banal psychological analysis of each of the young protagonists.
Die Revolution frisst ihre Kinder tells us an important chapter in the history of Burkina Faso in the unusual form of the mockumentary, for a highly complex and layered work in which art and politics are constantly intertwined, inevitably merging with each other, without leaving the audience time to realise where the mise-en-scene ends and reality begins.