Address: Martin Provost. Countries: France and Belgium.
Year: 2008.
Duration: 125 min.
Gender: Biopic, drama.
Interpretation: Yolande Moreau (Seraphine), Ulrich Tukur (Wilhelm Uhde), Anne Bennent (Anne Marie),
SYNOPSIS In 1912, the German collector Wilhelm Uhde (Ulrich Tukur), one of the first buyers discovered Picasso and Henri Rousseau "The customs", rent a flat in Senlis to devote himself to writing and rest of Parisian life. The landlady sends a cleaning woman, Seraphine (Yolande Moreau). Some time later, dining at the home of the owner of the apartment, Wilhelm sees a small painting on wood. Are surprised to learn that She is the woman who cleans his house. Thus was born a poignant and unexpected relationship between an art dealer and a visionary woman.
Comment
Provost The film delves into a unique spirit in an age of avant-garde artist's subjectivity charged more important than reality. For this reason, try to capture in their images the same innocence and dra-matic intensity with which the artist did in his paintings. In the first part of the tape breathes } air and wind of nature, the freshness of its waters and the peace of their days, in the best tradition of French impressionist film. The picture is bright, careful planning and timing parsimonious, while the dialogue is terse and simple, with the same ingenuity Seraphine paints.
The advent of World War 1 and later passed the Great Depression on tiptoe because the director is not interested in entertaining the political-economic environment, but leaving a trail of darkness and drama in the artist's soul, deep in the night of darkness and madness of the spirit. His paintings are then loaded dynamism and tension, inner shadows and gaining ground in the light and natural landscapes, their existence is far from reality and that alienation comes the best of his work, the most intimate and personal as happened to many visionary artists and misunderstood in his time.
gradually and without fanfare, with a polite tone and almost imperceptible, the viewer witnesses the glare / bust of the painter and perceive the gulf between herself and the world. Uhde's gaze serves both to discern the purity of "primitive art" rediscovers that modernity to be moved by the dislocations of the author. Provost manages all artistic film supported on a set staged to issue, tempo contemplative and uncompromising drama free and easy. Intimate but nothing maudlin, photography and music are on the superb interpretation of Yolande Moreau the perfect counterpoint to convey a state of mind, capaz tanto de sentir el frescor de las aguas o la rugosidad del tronco de un árbol como de reflejar la agitación y el torbellino interior de unas voces angelicales que vienen a los desposorios de un alma inquieta. Su manera de mirar las pinturas, el carácter artesanal con que fabrica sus colores, su contacto con la Naturaleza, la evolución en su relación con Uhde… son momentos exquisitos de un cine plenamente artístico.
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