Salattu rakkaus (TV Movie 2005)

Salattu rakkaus (TV Movie 2005). 1h 43m

“This is the second time I vote 10 for a film. I couldnu0026#39;t give it 20, but I would. An extremely rare film. Everyone has already went through explanations about its contents. I will go through something different.u003cbr/u003eu003cbr/u003eThe script is just impossible. Maybe one of the best things Iu0026#39;ve ever seen. It blows your mind away. Itu0026#39;s absolutely brilliant. No gaps. No fissures. No dead ends. As thoroughly crafted as any Shakespearian play. More acts than in any Bergmanu0026#39;s film. Every character depicted with their innermost desires, thoughts and emptiness.u003cbr/u003eu003cbr/u003eIu0026#39;m still crying, and I donu0026#39;t know why I canu0026#39;t stop. Only real episodes of our absurdly grim history in the news have made me cry because they move moral fibres that I try not to touch, but reality does.u003cbr/u003eu003cbr/u003eThe Hamlet-like play evolves with such a tension, that there are moment when your body engages in the same reeling provoked in your mind. Attention to every small detail has been paid so nothing is left to imagination. The crudeness of the story clashes with the subtlety and perfection of the shooting. Transferred to film, the focus on making you fall inside the spiral of the story is completely intended.u003cbr/u003eu003cbr/u003eThere are no limits regarding directorial skills, acting prowess, costumes, camera angles, colour… a perfect brocade that reminds me of nothing Iu0026#39;ve ever seen. Maybe we could say that Nicholas and Alexandra was one of those films that tell a story with sheer brutality, and where nothing is taken for granted. Maybe there are others.u003cbr/u003eu003cbr/u003eIu0026#39;ve seen more than 1,500 films in my life. I have memories from a very early age of most of them. But I canu0026#39;t say why this film made me re-think what I teach and what I think about cinematography… and about life.u003cbr/u003eu003cbr/u003eThe violence never goes over the top, but it surpasses any violence Iu0026#39;ve seen in war films. The issue of love surpasses anything Iu0026#39;ve ever seen in any romance or read in any novel. The cruelty, the passion, but especially the immense tension that grips you from the very start borders the insane. If there is a film that goes all the way to tell a story, this is the one. Maybe Fanny och Alexander would be the other of the 1,500 Iu0026#39;ve seen.u003cbr/u003eu003cbr/u003eEpic in proportions. Epic in the perfect period atmosphere. Epic in its story telling. Epic in resources, both human and material. Epic in a cast that can ask no more from each and every one who took even a small role in the film. Epic in the way it takes your mind and spirit in the most dangerous roller-coaster.u003cbr/u003eu003cbr/u003eIf thereu0026#39;s something you could try some day -if you dare, and IF you can, is to analise the way this film was photographed. I usually praise Vittorio Strorarou0026#39;s work. This film takes advantage of all available techniques in cinematography, but it keeps the traditional, organic, unfiltered reality at face value. Not a small achievement these days.u003cbr/u003eu003cbr/u003eAgain, French cinema is leading the world with stories that make you think, live, feel the crude and sad reality. Not a film for someone with any kind of heart condition or queasy stomach. No horror film can make you feel like this one. This is a film that was never intended to be classified as horror. But youu0026#39;ll meet one of the most horrifying experiences ever. A master piece of art.u003cbr/u003eu003cbr/u003eIf, when the credits start to roll, you donu0026#39;t feel like youu0026#39;re alone and miserable, the last captions will do their work. Believe me, its a roller-coaster that ends in a vertical freefall.u003cbr/u003eu003cbr/u003eI apologise for using so many superlatives. I couldnu0026#39;t refrain myself.”