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From The New Yorker
In this artfully engaging comedy, written and directed by Yolande Moreau and Gilles Porte, Irène (Moreau) has left her family at home to go on the road with her darkly funny one-woman show, in which she dons a grotesque papier-mâché mask with beady eyes and an exaggerated beak and proclaims that she has just committed a murder. When Dries (Wim Willaert), an odd but helpful stranger, fixes Irène's broken-down car, she invites him to her show; he soon won't leave her alone. Irène's act, if a bit overplayed in the film, has a hypnotic effect, and as she and Dries start to fall for each other, the fantasy life to which she increasingly yields is well juxtaposed with the natural performances: the excellent actors capture the giddiness of relating to someone in just the right way at just the right moment. In French.
Copyright © 2006 The New Yorker
In this artfully engaging comedy, written and directed by Yolande Moreau and Gilles Porte, Irène (Moreau) has left her family at home to go on the road with her darkly funny one-woman show, in which she dons a grotesque papier-mâché mask with beady eyes and an exaggerated beak and proclaims that she has just committed a murder. When Dries (Wim Willaert), an odd but helpful stranger, fixes Irène's broken-down car, she invites him to her show; he soon won't leave her alone. Irène's act, if a bit overplayed in the film, has a hypnotic effect, and as she and Dries start to fall for each other, the fantasy life to which she increasingly yields is well juxtaposed with the natural performances: the excellent actors capture the giddiness of relating to someone in just the right way at just the right moment. In French.
Copyright © 2006 The New Yorker
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