Photo: Danielle Arbid's A Lost Man
According to A Lost Man's international press notes, Danielle Arbid's first feature-length production since In the Battlefields is "about getting lost." Simple enough, except this near-premiseless work is as much about the rationale—or lack thereof—for the lost expression on its main character's face as it is about how haughty films of this sort thrive on confounding audiences. Because the film trades in vagueness, the actions of its characters can only be appraised in the most general of ways: So, when Fouad (Alexander Siddig) naughtily makes out with a woman at the border between Syria and Jordan, one might say he is Reaching Out for a Connection, and when Thomas (Melvil Poupaud) snaps pictures of Fouad and the woman, one might interpret his actions as a need to challenge Representations of Sexual Behavior in Middle Eastern Society. Ed Gonzalez
According to A Lost Man's international press notes, Danielle Arbid's first feature-length production since In the Battlefields is "about getting lost." Simple enough, except this near-premiseless work is as much about the rationale—or lack thereof—for the lost expression on its main character's face as it is about how haughty films of this sort thrive on confounding audiences. Because the film trades in vagueness, the actions of its characters can only be appraised in the most general of ways: So, when Fouad (Alexander Siddig) naughtily makes out with a woman at the border between Syria and Jordan, one might say he is Reaching Out for a Connection, and when Thomas (Melvil Poupaud) snaps pictures of Fouad and the woman, one might interpret his actions as a need to challenge Representations of Sexual Behavior in Middle Eastern Society. Ed Gonzalez
