|The Line (La Ligne) Movie Review, Trailer, Cast, & Watch Online: Berlin 2022|
The Line (La Ligne) Berlin 2022 Movie Review, Trailer, Cast, & Watch Online: Swiss director Ursula Meier’s play follows a mother and daughter whose abrasive relationship draws an unusual boundary between them
The dysfunctional family dynamics and ill-health of a Swiss suburb were central to director Ursula Maier’s first two features, Home (2008) and Sister (2012), and they form the crux of The Line (La Ligne), an explosive Follows the mother-daughter relationship that starts off with a bang and takes a while to settle down from there.
Starring Belgian musician and actress Stephanie Blanchaud as a singer-songwriter who has a major bone to pick with her classical pianist mother, the film delivers deeply mature performances that sometimes go too far. Maybe — especially in the case of Valeria Bruni Tedeschi, who plays a manic woman in dire need of a powerful mood stabilizer.
The Line (La Ligne) Movie
- Bottom line Explosive but unsatisfying.
- Venue: Berlin International Film Festival (competition)
- Cast: Stephanie Blanchaud, Valeria Bruni Tedeschi, Ellie Spagnolo, Dali Bensla, India Hair, Benjam Biole
- Director: Ursula Meyer
- Screenwriters: Stephanie Blanchaud, Ursula Maier, Antoine Jacaud
- Duration: 1 hour 41 minutes
In fact, despite the strong cast and solid direction, the problem with Meyer’s latest is that it explores the tense and thorny nature of blood relations, without ever delving into its psychology, often leaving us in the dark. Why do characters behave the way they do.
When you start your movie with a daughter who beats her mother bejesus, it’s good to know why she did it. But the director, who co-wrote the screenplay with Blanchaud and Antoine Jacaud, seems to have deliberately avoided explanation as his film moves from one unsettling event to another, and the outcome isn’t entirely convincing.
Still, there are plenty of powerful moments in this well-acted drama, starting with Margaret (Blanchaud) going after Christina (Brunie Tedeschi) in a slow-paced fight sequence where the dishes explode. They go, faces are blown away, sheet music blows in the air and blood begins to flow.
The rest of the film follows the aftermath of a vicious dispute that leads to a restraining order against Margaret that forces her to live a hundred meters from her mother’s home. To preserve the border, her younger half-sister, Marion (the quintessential Elle Spagnola), paints a pink perimeter around the house that gives the film its title. The question is, will Margaret be able to cross the line she has crossed many times before?
Margaret and Christina’s explosive personalities add tension to the story, and Meyer tries to show that they have a lot in common, despite their obvious differences. Both are talented musicians, although Christina gave up her career as a concert pianist to raise her two daughters (the other, Louise, played by India Heyer), to teach music at home in a godforsaken corner of Switzerland. Settled in, and frankly regret every minute of it. Why she didn’t move to Geneva or some other, more culturally vibrant city where she and her children could possibly thrive is a question the film never addresses. (Another thing happened to the father of the girls, which no one ever mentioned.)
Once Margaret understands that she can no longer violate her mother’s safe space, she does her best to be with Marion, offering the girl singing lessons that she takes from across the family boundary. administers. Meanwhile, Christina, who lost her hearing in one ear after an initial brawl, breaks up with Marion’s father, but soon finds love in the young Hervé (Dali Bensla), resulting in several uncomfortable scenes where She hugs in front of the kids.
Bruni Tedeschi has never been the most subtle of actresses, but someone turned her volume up too much in this production, reducing her character’s credibility. A sequence where Christina plays the solo for the last time before turning off her piano is both touching and over the top: She’s so much of a drama queen that her feelings are constantly crushed by all the excess.
You have to accept these people for who they are, but Meyer doesn’t give us enough to help us believe in them. The idea of therapy as a cure-all may sound simple, these characters can certainly use it, and the fact that such an idea is never mentioned, or ever in an ongoing conversation Also nothing important was there, disappointing.
Blanchaud, herself a talented singer, finds Margaret both compelling and a bit puzzled. She is battling the image of a mother she loves and loathes, trying to forge her own path, yet still unable to express herself coherently outside of her music. As the film progresses, she learns how to control her anger, but again, we never know why, and the sect leads her down a better path, while leaving us mostly dissatisfied.
Working with cinematographer Agnes Goddard and editor Nelly Quetier, both veterans of Claire Dennis, Meyer captures the abrasive mood swings against the gloomy backdrop of prefab homes and hazy shopping centers, the Alps gloriously dull in the distance. Like its previous films, The Line reveals a side of Switzerland far from the picturesque scenes seen in all James Bond films – a place where people struggle to come to terms with each other and make ends meet. , and where home is rarely the heart.
Source: Jordan Mintzer, The Hollywood Reporter, Direct News 99