The Edge

There was a time in the history of film making when every frame
could be taken out and used as an artwork in its own right.
Sometimes you get the feeling that contemporary film production
is dominated by cheap and shaky hand camera productions,
and far too few hours spent on vital elements like composition,
framing and photo. Expensive definitely does not equal
good, but sometimes you just want to puke on the sterile, digital
image, so void of surface and life. Give us Antonioni back!
That’s why it’s so securing to see Géraldine Bajard’s brilliant
debut radiate with truly beautiful, tranquil and well-composed
pictures. But the calm is deceiving. The Edge creates its own
comfortless universe, the way it can be in a small village in
the countryside. Rules, habits, norms and moral are isolated
and can easily be misused by evil people. Or evil kids. A newly
arrived, handsome house physician becomes aware of the
young people of the village and their strange rites. The teenage
girls fall in love with him and simulate diseases to be close to
him and maybe the doctor himself is out of line. Jealousy grows
in the hearts of the boys and one death soon leads to another.

Lars Diurlin

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