Marivaudage. The word evokes a theatrical scene and amorous interweavings in which the movements of the bodies seek to give a visual form to the flourishes of the words. Both Conte d’été and Que d’amour seek to update that tradition to the cinema screen. In Rohmer’s film, it is the words that chase after the bodies – always a little ahead of what the dialogue says. In the latest work by Valérie Donzelli, the game with the theatre is obvious in its intention to reveal from the start its innocent unreality. The ballet of the characters staged by the French member of the Concorso internazionale jury verges on pantomime. And if the dialogue speaks of feelings of love, of misunderstandings, of rules to be obeyed, the meaning of the process should instead be sought in a purely musical direction, as though the bodies were the notes of an airy sonata.
Him and her. The vertical dimension of Adelino (Geraldo Del Rey) is set against the sideways angle of Albertina (Isabel Ruth), whose expression does not leave many doubts about the nature of the confrontation. Mudar de Vida is a film constructed on oppositions that end up attracting: on the one hand the documentary desire to pay tribute to those people who invented a complex form of collective work, able to stand up to the fury of the sea on an otherwise defenceless coast; on the other, the presence of the poetic, musical words of António Reis that express the unusual melodrama that envelops the two leads.