A challenge inherent to a parable of this sort is that evil, being so seductive, can make good seem dull or prissy by comparison.
The insistence of Eugène Green’s gaze encourages us to look at the uncanny movements of the conscience.
The mannered direction is most effective when it inspires an enhanced sensitivity to the import of visual and vergal gestures.
It’s no wonder that film festivals are schizophrenic creatures, given the number of different functions they have to perform simultaneously.
Eugène Green is fascinated by actress Leonor Baldaque’s eyes, his own rigorous formalism, and the architecture, art, and music of Lisbon.