Le Printemps

Probably murder, definitely escape. However, it wasn't a person who was killed, but a "parallel cut" that disrupts the idea of the connection of events and confuses the ability of the average viewer to connect unrelated things, like in a children's fairy tale: the director, like a child, replaces the conventional bourgeois continuity of meaningful cuts with the montage of two lines, each dancing its own solo; only the dancers' glances, from the whirl of their closed pirouettes, rhythmically flash onto the other soloist - and at that moment a new, freer meaning is born, one that does not rustle with paper inserted in advance by the screenwriter, but one that is born spontaneously during the dance-film from the viewer's perspective. Symbolically, Hanoun most often uses classical and baroque music in his tetralogy of four annual films - the beats of times when instead of two clearly defined pairs dancing in a close embrace, contradance took place, when, for example, individual dancers intertwined in various combinations in two randomly grouped opposite lines... In this film, no music is playing - a symbolic possibility of even greater detachment from the dictate of expressing logical meaning through editing... Otherwise, it may also be a nice film about fatherhood and a mother-in-law. (2023.04.29)