Wanted to watch this movie. The original version is in french language. And you probably did not realized that almost half of the scenes are located in Germany. And the dialogs in german are not...translated/subtitled. DIfficult, then to see this pretty good Schanelec movie. Can this be fixed ? Many thanks to all the Mubi team. Bernard
Somehow "Marseille" feels to me like a study in intimacy. The final shot reminds me of a Gursky picture: lots of people together, lots of intimacy. But when you look at the whole picture the viewer only sees isolated groups. Intimacy (within the world of "Marseille") only seems possible when it happens by simple coincidence, once it tries to establish itself in everyday life it becomes problematic. Together alone.
Uma ideia interessante (a pessoa que se vê sujeita à cidade e, ainda assim, se interessa por tentar compreendê-la) dentro de uma execução que perde raramente a monotonia. Os takes silenciosos são bonitos, como sempre, mas aqui são tantos que há momentos em que é fácil se perder. A parte final, com o regresso a Marselha, é ainda mais confusa. Ponto alto para a atuação incrível de Eggert.
Schanelec's Marseille ("Showing without telling') could have done with a bit more telling: a lot of the shots focussed on the actress with little context revealed in an often blurred background. This summed up the film for me- I felt engaged with the characters but had little idea what was going on or what it related to. As someone else said, lots of good film ideas but nothing's developed to make it feel satisfying.
Composed of two equally tepid parts constructed using seemingly disjointed vignettes, Marseille juxtaposes the romantic fantasy of the unfamiliar with the harsh reality of the everyday–before ending with a sudden rude awakening. Too bad this promising premise is lost in a meandering mess of forced ambiguity in the name of experimental style that, truth be told, has been done so much better by other directors before.
There was no story to tell, when there is no story to tell, the picture is more important. I liked how the director was jumping from one situation to another without trying to please the viewer. Like the scene at the end of the first visit to Marseille we suddenly see Sophie in Berlin. It had nice shots showing the feeling of being a stranger in Marseille. But absolutely it was lacking a good plot
A cinema of missed opportunities. While resonant as an evocation of contemporary urban estrangement and surprisingly confident in its Rohmeresque first fragment -by far the most successful- the film suffers from its creator's nearly fetishistic insistence of empty frames, which work for many other auteurs but are metonymically vacant here, failing thus to lift the aesthetics in similar heights. Eggert is good though.
I wasn't fully absorbed, as I sensed reverse-engineering to reach a premise, an intellectual means to an emotional end. This impression reduced the experience she wanted to convey, the organic influence of chance & mysterious ambiguity. To me they came off more as authorial determination. I admire Schanelec's aims; I feel she realizes them more in "I Was At Home, But..." Maybe because she mostly abandons realism.
C'est la deuxième fois que je le vois (soit 11 ans après, le l'avais vu en 2007 sur Arte) et c'est admirable. Elle possède son propre langage cinématographique, quelque chose de "Géo-graphique" qui complète le fond des personnages et la forme des lieux. Exigeant malgré tout.