Un soupçon d'amour

Un soupçon d'amour ★★★

The tragedy of time. A deconstruction of a melodrama, making heavy use of thriller dynamics and musical tropes to get the theatrical edge closer to the realm of cinema. The main reason why the film’s desperate mourning works is due to it being entirely encapsulated by Bassler’s fragility, who literally trembles with the idea of the passing of time - and whose face still has that haunting power in front of forces beyond our control. Vecchiali’s dramaturgy may be a bit stiff at times, but the main actresses’ ravishing presence manages to give the film much strength - and his staging is still superb. The main intrigue is weak, but the manner in which it is tortured by Vecchiali’s ingenious mise-en-scène finds resources to make it expand itself towards a wider domain in which cinematic form and time’s uncontainable flow coalesce in a despairing metalinguistic discernment - something like Vecchialli’s ‘Twin Peaks: The Return’. Great soundtrack, by the way.

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