Weekend films

"Caravan', a delicate mother-son relationship in a touching road movie

The film by Czech director Zuzana Kirchnerova, born in 1978, whose first feature film is now in cinemas

by Andrea Chimento

Caravan

3' min read

3' min read

An intense mother-son relationship is at the centre of one of the most interesting films of the weekend in cinemas: it is 'Caravan', a film by Czech director Zuzana Kirchnerova, here at her first feature film.

At the centre of the plot is Ester, a woman who, after twelve years devoted entirely to caring for her son David, who suffers from a mental disability, is going through a very difficult time. At the age of forty-five, she finally allows herself the long-dreamed-of holiday in Italy, hosted by her childhood friend, but what was supposed to be a moment of light-heartedness soon turns into a new prison. Stuck with David in an old caravan parked in the garden, surrounded by friends who, although affectionate, cannot cope with their son's unpredictability, Ester feels trapped. Between feelings of guilt and the fatigue of a life that seems to leave her no room, one night she makes an impulsive decision. She starts up the caravan and sets off with David on an impromptu trip across the Bel Paese.

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Presented in the Un certain regard section of the last Cannes Film Festival, 'Caravan' is an anomalous road-movie, capable of dealing intimately with such a delicate and nuanced relationship.

“Caravan” e gli altri film della settimana

Photogallery4 foto

A (double) tale of formation

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What is portrayed is a double coming-of-age story, involving both the boy and the mother, a woman who turns away from everything she knows in order to achieve something different: for her son and for herself.

The journey they undertake is a strongly metaphorical journey of rebirth, during which they will venture along roads never trodden, amid unexpected encounters, dream landscapes, and moments when joy alternates with despair.

The cues are many and the characters well portrayed, although the film suffers from an uneven pace that severely limits involvement.

The staging is delicate but not very courageous: there are no great flashes to remember, but neither are there any particular gaps within a vision that is stylistically effective but could have been far more ambitious.

The limitations, however, do not hide the various merits of an otherwise touching operation, in which it is easy to empathise with the protagonists.

Given that this is a first work (but not only for this reason) one can be amply satisfied.

Monsieur Blake

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Another debut behind the camera is that of novelist Gilles Legardinier, who chose to adapt one of his novels from 2012 to give life to the film 'Monsieur Blake - Butler for Love', another of the major new releases in theatres.

At the centre of the plot is Andrew Blake, an English businessman in his later years.

Widowed, apart from his wife, Andrew has also lost his zest for life and the meaning of his existence. In a last burst of vitality, he decides to leave the management of his small business and move to France, to the estate where he had met his wife years before, in an attempt to regain at least an echo of the lost serenity. But this journey back in time to the memories of happy days will not go as planned.

An undoubtedly polite film with an interesting nostalgic atmosphere, 'Monsieur Blake' is, however, at the same time a work that is not very incisive and never really able to leave anything important with the viewer. Everything is rather scholastic - from the direction to the dialogue - and the presence of John Malkovich and Fanny Ardant are not enough to lift the fortunes of a mediocre and superficial product. A little task, not even too well executed.

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