Ill keep this short; writing about stuff like this really makes me realise to what extent the English language is limited.
From concept to post-production, this film is flawless. The direction and, specifically, the editing of the piece show years of creative experience in the field. Laurence Hilton-Jacobs returns to the screen with a proto-naturalistic approach to the portrayal of a broken man living in a world which does not appreciate him. The beauty of this is that it seems to reflect the life of Merhi so far. His unique style when directing his works has not always been accepted by an audience of which the majority are used to much more mainstream, commercial films.
The overall 'feel' of the film is of perfection and finesse. It maintains this finish while keeping its art-house status and evading the glossy overcoat which is becoming more and more popularly associated with the industry in America. Over the years I've familiarised myself with the abstract writing style of Kanganis, and it has become a little habit of mine to expect these little surprises that he has for us with each release. The reflection mentioned above seems to have come about naturally; the troubled mind of Merhi and artistic aptitude of Kanganis come together to bring the film together with a fine-tuned taste, but not pretentiousness, and to end it with such a gritty climax as it does.
Merhi is an overwrought genius whose presentation, when grouped with the textual gold of Kanganis' script and the on screen presence of Hilton-Jacobs of such charm and without antecedence is, frankly, magical.
From concept to post-production, this film is flawless. The direction and, specifically, the editing of the piece show years of creative experience in the field. Laurence Hilton-Jacobs returns to the screen with a proto-naturalistic approach to the portrayal of a broken man living in a world which does not appreciate him. The beauty of this is that it seems to reflect the life of Merhi so far. His unique style when directing his works has not always been accepted by an audience of which the majority are used to much more mainstream, commercial films.
The overall 'feel' of the film is of perfection and finesse. It maintains this finish while keeping its art-house status and evading the glossy overcoat which is becoming more and more popularly associated with the industry in America. Over the years I've familiarised myself with the abstract writing style of Kanganis, and it has become a little habit of mine to expect these little surprises that he has for us with each release. The reflection mentioned above seems to have come about naturally; the troubled mind of Merhi and artistic aptitude of Kanganis come together to bring the film together with a fine-tuned taste, but not pretentiousness, and to end it with such a gritty climax as it does.
Merhi is an overwrought genius whose presentation, when grouped with the textual gold of Kanganis' script and the on screen presence of Hilton-Jacobs of such charm and without antecedence is, frankly, magical.