The setting of the story itself is a type that will be very bloody if you are not careful: how a woman who loses her feet and a single parent who fails to save each other. However, the whole film is very depressive, calm, and realistic depiction of emotions, full of fascinating performance details. The dialogue and lines end here, but under the elegant tones and slightly shaking lens, it is not too rigid and the tailoring is completely different from Hollywood's style, but it is filled with the director's own self-confidence.
Although the promotion is based on the heroine Marion Cotillard, the axis of the story is actually in the heroine Matthias Schoenaerts. Matthias Schoenaerts is not a very sexy type, but it also makes this impulsive and reckless character more convincing. Steal when you’re hungry, grab when you don’t have money, find someone to have a shot if you have sexual desire, take care of a child is no different from raising a pet, relying solely on the instinct to live the male protagonist, he will not grow from a boy until he is about to lose. man. Matthias Schoenaerts presents such a bastard character very well, his eyes are a bit erratic, and he walks very lightly, but not slick. Marion Cotillard's performance is absolutely amazing from facial expressions to body language: the passage of finding that he lost his feet is painful but not hard, and when he returns to the sea for the first time, he gradually controls his body and gestures on the balcony. The actions of the Beastmaster, the gradually regaining self-confidence with the plot, and the expression of disappointment with the actor, each performance is full of delicate layers, and I can't love her any more.
In addition to being qualified as an actor, I also like the various details arranged by the director to help this story be more realistic. For example, the actor went to the house of the disabled heroine and checked whether there was water in the kettle before making coffee; the heroine left her first meeting with the actor when she was finishing her clothes. The female protagonist’s sister also wore the dress she was given at this time in the subsequent play. This paragraph uses a completely irrelevant medium (clothes) to describe how the heroine who lost her legs rebuilds her and her surroundings. Human relations.
In addition, I particularly admire the low-key of the film in conveying lust: the protagonist glanced at the heroine's breasts, and the heroine turned the air-conditioning up while hiding in the car watching boxing. The change of mentality of the role is also presented in a quite quiet way: the heroine wears trousers to cover the prosthetic limbs at the beginning, and then she does not hesitate to expose the prosthesis; The protagonist decides to say goodbye to the past. There are many wonderful "silent" performances in this film, which are the realism and elegance that Hollywood movies don't often have. Of course, they also challenge the patience of the audience.
At the end of the film, the film did not explain how the protagonist would use his injured hand to return to the boxing battlefield. The protagonist and heroine did not hold their heads and cry, but confirmed each other's "I will be" through a phone call. So it’s not surprising that this film will lack the attention it deserves, or that Marion Cotillard hasn’t gotten the actress because it has indeed abandoned the beauty and sentimentality that the mainstream market loves, and it’s also lacking to become an "awarded blockbuster". The tears and touches. But I think only when watching this type of movie can the audience realize that there is not only one way to tell stories and talk about love, and its realism can also provide actors with a space to show the details of their performance.
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