"Embedded in these modest memories is the crux of Philibert’s film: the idea that cinema can act as a personal, or even communal, history, and that the images don’t just tell the narrative as written in the script, but also act as a visual record of the real people involved in the production. It’s an example of narrative cinema functioning as a home movie. Philibert waits until the final moment of the film to reveal his true motivation for making the film: his own father, recently deceased, had a small role in the film that was eventually cut."
Read my full review of Nicolas Philibert's Back to Normandy (Retour en Normandie) online here at Not Coming to a Theater Near You.
Late to the party: Max Fischer & Nicholas Angel
1 month ago